The 

JAMES  A.  THOMAS 
COLLECTION 


DUKE  UNIVERSITY  LIBRARY 
DURHAM.  N.  C. 


Date 


i 


MUMl 


/ 


\ 


\ 


Digitized  by  the  Internet  Archive 
in  2017  with  funding  from 
Duke  University  Libraries 


https://archive.org/details/illustratedcatal1918amer 


ON  FREE  PUBLIC  VIEW 

9  A.M.  UNTIL  6  P.M. 

AT  THE  AMERICAN  ART  GALLERIES 

MADISON  SQUARE  SOUTH,  NEW  YORK 

FROM  FRIDAY,  JANUARY  18th,  1918 
UNTIL  THE  DATE  OF  SALE,  INCLUSIVE 


ANTIQUE  CHINESE  PORCELAINS 

CARVED  JADES,  CORAL,  CRYSTALS,  ENAMELS 
BRONZES,  BEAUTIFUL  OLD  VELVETS 
AND  OTHER 

CHINESE  ART  TREASURES 


TO  BE  SOLD  AT  UNRESTRICTED  PUBLIC  SALE 

ON  TUESDAY,  WEDNESDAY  AND  THURSDAY  AFTERNOONS 

JANUARY  22nd,  23rd  AND  24th,  1918 

AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  EACH  AFTERNOON  AT  2.30  O’CLOCK 


V 


'-•I 


ILLUSTRATED  CATALOGUE 

OF  THE 

CHINESE  ART  TREASURES 
AND  ANTIQUITIES 


FROM  THE  PRIVATE  COLLECTION 
OF 

MR.  EDWARD  R.  WARREN 

BOSTON 

RECENT  IMPORTATIONS  OF  THE  BOSTON  HOUSE  OF 

YAMANAKA  &  COMPANY 

AND  A  NUMBER  OF  RARE  OBJECTS 
ADDED  BY  THEIR  NEW  YORK  BRANCH 


TO  BE  SOLD  AT  UNRESTRICTED  PUBLIC  SALE 

AT  THE  AMERICAN  ART  GALLERIES 

ON  THE  AFTERNOONS  HEREIN  STATED 

138701 


THE  SALE  WILL  BE  CONDUCTED  BY 

MR.  THOMAS  E.  KIRBY 

AND  HIS  ASSISTANT,  MR.  OTTO  BERNET,  OF  THE 


AMERICAN  ART  ASSOCIATION,  Managers 

MADISON  SQUARE  SOUTH,  NEW  YORK 
1918 


*- 


THE  AMERICAN  ART  ASSOCIATION 
DESIGNS  ITS  CATALOGUES  AND  DIRECTS 
ALL  DETAILS  OF  ILLUSTRATION 
TEXT  AND  TYPOGRAPHY 


7  £  S  / 
7^  5  Sr  7f 


CONDITIONS  OF  SALE 

1.  Any  bid  which  is  merely  a  nominal  or  fractional  advance 
may  be  rejected  by  the  auctioneer,  if,  in  his  judgment,  such  bid 
would  be  likely  to  affect  the  sale  injuriously. 

2.  The  highest  bidder  shall  be  the  buyer,  and  if  any  dispute 
arise  between  two  or  more  bidders,  the  auctioneer  shall  either  de¬ 
cide  the  same  or  put  up  for  re-sale  the  lot  so  in  dispute. 

3.  Payment  shall  be  made  of  all  or  such  part  of  the  pur¬ 
chase  money  as  may  be  required,  and  the  names  and  addresses  of 
the  purchasers  shall  be  given  immediately  on  the  sale  of  every  lot, 
in  default  of  which  the  lot  so  purchased  shall  be  immediately  put 
up  again  and  re-sold. 

Payment  of  that  part  of  the  purchase  money  not  made  at 
the  time  of  sale  shall  be  made  within  ten  days  thereafter,  in  de¬ 
fault  of  which  the  undersigned  may  either  continue  to  hold  the 
lots  at  the  risk  of  the  purchaser  and  take  such  action  as  may  be 
necessary  for  the  enforcement  of  the  sale,  or  may  at  public  or 
private  sale,  and  without  other  than  this  notice,  I'e-sell  the  lots 
for  the  benefit  of  such  purchaser,  and  the  deficiency  (if  any)  aris¬ 
ing  from  such  re-sale  shall  be  a  charge  against  such  purchaser. 

4.  Delivery  of  any  purchase  will  be  made  only  upon  pay¬ 
ment  of  the  total  amount  due  for  all  purchases  at  the  sale. 

Deliveries  will  be  made  on  sales  days  between  the  hours  of 
9  A.  M.  and  1  P.  M.,  and  on  other  days — except  holidays — 
between  the  hours  of  9  A.  M.  and  5  P.  M. 

Delivery  of  any  purchase  will  be  made  only  at  the  American 
Art  Galleries,  or  other  place  of  sale,  as  the  case  may  be,  and  onlv 
on  presenting  the  bill  of  purchase. 

Delivery  may  be  made,  at  the  discretion  of  the  Association, 
of  any  purchase  during  the  session  of  the  sale  at  which  it  was  sold. 


138701 


5.  Shipping,  boxing  or  wrapping  of  purchases  is  a  business 
in  which  the  Association  is  in  no  wise  engaged,  and  will  not  be 
performed  by  the  Association  for  purchasers.  The  Association 
will,  however,  afford  to  purchasers  every  facility  for  employing 
at  current  and  reasonable  rates  carriers  and  packers;  doing  so, 
however,  without  any  assumption  of  responsibility  on  its  part 
for  the  acts  and  charges  of  the  parties  engaged  for  such  service. 

6.  Storage  of  any  purchase  shall  be  at  the  sole  risk  of  the 
purchaser.  Title  passes  upon  the  fall  of  the  auctioneer’s  hammer, 
and  thereafter,  while  the  Association  will  exercise  due  caution  in 
caring  for  and  delivering  such  purchase,  it  will  not  hold  itself 
responsible  if  such  purchase  be  lost,  stolen,  damaged  or  destroyed. 

Storage  charges  will  be  made  upon  all  purchases  not  removed 
within  ten  days  from  the  date  of  the  sale  thereof. 

7.  Guarantee  is  not  made  either  by  the  owner  or  the  Asso¬ 
ciation  of  the  correctness  of  the  description,  genuineness  or  au¬ 
thenticity  of  any  lot,  and  no  sale  will  be  set  aside  on  account  of 
any  incorrectness,  error  of  catologuing,  or  any  imperfection  not 
noted.  Every  lot  is  on  public  exhibition  one  or  more  days  prior 
to  its  sale,  after  which  it  is  sold  “as  is”  and  without  recourse. 

The  Association  exercises  great  care  to  catalogue  every  lot 
correctly,  and  will  give  consideration  to  the  opinion  of  any  trust¬ 
worthy  expert  to  the  effect  that  any  lot  has  been  incorrectly  cata¬ 
logued,  and,  in  its  judgment,  may  either  sell  the  lot  as  catalogued 
or  make  mention  of  the  opinion  of  such  expert,  who  thereby  would 
become  responsible  for  such  damage  as  might  result  were  his 
opinion  without  proper  foundation. 


AMERICAN  ART  ASSOCIATION, 

American  Art  Galleries, 
Madison  Square  South, 


CATALOGUE 


NOTE 

The  objects  coming  from  the  private  collection  of  Mr. 
Edward  R.  Warren  of  Boston,  and  which  are  to  be  sold 
for  his  account,  are  described  under  the  following  Catalogue 
numbers,  viz:  Nos.  200,  203,  204,  20.5,  206,  207,  210,  212,  216, 
217,  219,  220,  221,  222,  223,  224,  225,  226,  227,  230,  263,  267,  268, 
271,  272,  274,  276,  279,  286,  291. 


FIRST  AFTERNOON’S  SALE 


TUESDAY,  JANUARY  22,  1918 

AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  2.30  O’CLOCK 

Catalogue  Nos.  1  to  193,  inclusive 


SNUFF  BOTTLES 

1—  Opaque  Glass  Snuff  Bottle 

Pilgrim-bottle  or  full-moon  form ;  dense,  rich  yellow 
glass,  each  face  decorated  with  a  floral  medallion  in 
relief. 

2 —  Jade  Snuff  Bottle 

Ovoid-jar  shaped,  flattened;  translucent  gray-white 
jade,  studded  with  bosses  carved  as  minute  ideographic 
medallions  and  enwrapped  in  a  minutely  incised  diapered 
brocade  pattern. 

3 —  Amber  Snuff  Bottle 

Ovoid  jar  form,  slightly  flattened;  opaque  amber  of  dark 
brownish-yellow,  with  mirror  polish. 

4 —  Pair  Jade  Snuff  Bottles 

Flattened  flask-shape;  pure  white  translucent  jade,  with 
a  fine  and  brilliant  polish. 

5 —  Amber  Snuff  Jar 

In  form  of  a  frog,  squatting  and  much  puffed  up;  trans¬ 
lucent  brown  amber,  carved  in  relief  and  incised,  and 
with  soft  polish. 


First  Afternoon 


6 — Lapis-lazuli  Snuff  Bottle 


Slender  flask  shape.  Rich  and  typical 
blue  with  grayish  lines  and  markings, 
and  a  profuse  metallic  sprinkling  of 
dulled-silver  note. 


7- — Porcelain  Snuff  Bottle  ( Yung 
Cheng) 

Inverted  pear-shape,  flattened ;  deco¬ 
rated  in  relief  with  lotuses  blooming 
in  a  pond,  and  swallows  and  dragon¬ 
flies  hovering  over  them,  the  reliefs 
partly  in  white  and  partly  in  poly¬ 
chrome  on  a  pure  white  ground. 

6 

Height,  3  inches. 

8 — Agate  Snuff  Bottle 

Dense  opaque  yellow  agate  with  bright  polish,  carved 
in  elongated  bag-shape  and  with  two  emblematic  bats 
in  relief. 


9 — Two  Glass  Snuff  Bottles 

Pilgrim-bottle  form ;  one  in  amethystine,  one  in  azure- 
blue,  glass,  both  transparent. 


10 — Glass  Snuff  Jar 

Ovoidal  contour;  somewhat  flattened,  with  narrow  sides, 
and  each  face  shaped  in  three  flattened  lobes.  Trans¬ 
parent  glass  of  pale  sapphire,  with  deeper  notes. 


11 — Coral  Snuff  Jar 

Rich  pink  coral  with  white  mottlings  and  soft  polish, 
carved  in  the  form  of  a  bag-shaped  jar  with  two  Fu- 
lions  climbing  about  it  in  bold  relief. 


First  Afternoon 


12 — Amber  Snuff  Bottle 


Carved  in  the  form  of  a  very  fat 
boy  squatting  on  one  heel  and 
holding  a  branch  of  the  sacred 
fungus  on  his  right  shoulder. 
Dark  brown  translucent  amber 
with  brilliant  polish. 

Height,  3 y4  inches. 


13 —  Two  Amber  Snuff  Jars 
One  ovoidal  in  rich  reddish-brown 
amber,  with  plain  mirror  surface; 
the  other  globular,  with  a  light 
golden-brown  translucence,  and 
carved  in  sensible  relief  with 
bamboo  trees  and  an  inscription. 

14 —  Jade  Snuff  Jar 
Flattened  flask-shape  with  low 
foot;  grayish-white  jade  with 

brilliant  polish,  and  with  two  handles  running  the  full 
length  of  the  sides,  in  the  form  of  lizard-dragons  carved 
in  the  round,  one  ascending  and  one  descending. 

15 —  Cameo-glass  Snuff  Bottle  ( Ch’ien-lung ) 

Ovate,  with  delicate  foot;  transparent  pale  ruby  glass, 
with  trees  and  birds  in  relief  in  dark  emerald  glass,  and 
blossoms  in  the  color  of  cinnabar  lacquer. 

16 —  Cameo-glass  Snuff  Bottle  ( Ch’ien-lung ) 
Pilgrim-bottle  form.  Brilliant  opaque  glass  of  pure 
white,  finely  carved  in  delicate  relief  with  ornaments, 
birds  and  animals,  in  a  soft,  warm  and  rich  brown. 


First  Afternoon 


17 —  Amber  Snuff  Bottle 

Ovoidal,  flattened;  surface  carved  in  low  relief  with 
baluster  forms  in  close  and  intermingled  alignment,  so 
close  as  to  suggest  at  first  a  rough-surfaced  fruit. 

18 —  Amber  Snuff  Bottle 

In  fresh  fig  shape,  carved  in  light  relief  with  flags,  rocks 
and  flowering  trees;  brown  and  yellow  amber  with  golden 
translucence;  amber  stopper. 

Height,  3%  inches. 

19 —  Pair  Fei-ts’ui  Jade  Snuff  Bottles 

Flattened  flask  shape,  with  short  neck  and  low  oval  foot. 
Both  fashioned  in  particularly  rich  and  glowing  fei-ts’ui 
jade,  the  emerald  areas  heavily  predominating,  the  deli¬ 
cate  translucence  green-toned  throughout,  and  all  sur¬ 
faces  brilliantly  polished. 


20 —  Two  Amber  Snuff  Bottles 

One  of  irregular  shape,  carved  in  relief  with  the  Bud- 
dha’s-hand  citron;  mottled  rich  brown  and  golden  trans¬ 
lucent  amber,  with  brilliant  polish.  One  of  opaque 
brown  amber  carved  in  irregular  jar-shape,  with  bamboo 
and  prunus  motives  in  relief. 

21 —  Amber  Snuff  Bottle 

Flattened  flask-shape.  Brilliantly  polished  amber  with 
a  pale  old-golden  translucence,  carved  in  relief  with  the 
pine  and  other  trees  and  several  merry  figures. 

22 —  Amber  Snuff  Bottle 

Bulbous  flask-shape.  Carved  in  relief  with  the  bamboo 
and  the  rock  peony,  a  stag  and  a  bird  perched  on  a 
rock.  Brown  amber  with  a  varied  translucence  and  a 
spangling  of  gold. 


First  Afternoon 


23—  — Amber  Snuff  Bottle 

Largo  flattened  flask-shape.  Brilliant  opaque  clouded 
amber,  carved  in  light  relief  with  two  dragons  above  the 
waves. 

24 —  Three  Lapis-lazuli  Snuff  Bottles 

One  flattened  flask  shape,  tapering  to  a  delicate  foot. 
One  jar-shaped,  carved  in  relief  with  a  gourd-vine  and 
animals,  and  one  carved  as  a  fruit  cluster  with  a  swallow 
perching  on  a  stem. 

25 —  Two  Amethyst  Snuff  Bottles 

One  pear-shape,  with  floral  and  animalistic  carvings  in 
relief ;  the  other  of  irregular  form,  carved  in  relief  with 
stems  and  leaves,  the  leaves  lightly  veined  by  incision. 

26 —  Jade  Snuff  Bottle 

Flattened  elongated  pear-shape;  opaque  jade  of  sage- 
green,  with  rich  light  green  mottlings  and  numerous 
small  black  fleckings. 


Height,  3  inches. 


First  Afternoon 


27 — Fei-ts’ui  Jade  Snuff  Bottle 

Flattened  flask  shape.  Fei-ts'ui 
jade  richly  and  beautifully  mottled 
in  fine  emerald-green,  white  and  a 
vaporous  grayish-white,  and  bril¬ 
liantly  polished. 

28 —  Crystal  Snuff  Bottle 
Translucent  hair  crystal  with  a 
profusion  of  the  black  lines,  in  ovate 
leaf  shape,  thin  and  flat. 

29 —  Amethyst  Snuff  Bottle 
Oviform  and  slightly  flattened. 
Clouded  amethyst  with  bright 
polish,  carved  in  low  relief  with  the 

id  bamboo  and  a  phoenix. 

30 —  Ivory'  Snuff  Jar 

Inverted  pear-shape,  slightly  flattened,  with  high  shoul¬ 
der  and  small  delicate  foot.  Carved  in  high  relief  and 
undercutting  with  children  gathered  around  an  adult 
in  a  garden,  and  approached  by  a  shepherd,  and  on  the 
opposite  face  with  figures  on  a  balcony,  all  on  a  finely 
incised  ground.  Delicately  tinted,  and  touched  with  a 
warm  patina. 

Height,  3%  inches. 

31 —  Fei-ts’ui  Jade  Snuff  Bottle 

Ovoid  jar  form,  slightly  flattneed.  Fine  fei-ts'ui  jade 
of  delicate  translucence,  with  broad  areas  of  richest 
emerald,  and  a  mirror  polish. 

32 —  Fei-ts’ui  Jade  Snuff  Bottle 

In  the  form  of  a  graceful  ovoid  jar,  somewhat  flattened. 
Translucent  fei-ts'ui  jade  of  nebulous  grayish-white,  with 
a  single  patch  of  richly  mottled  emerald-green  enriching 
the  shoulder  and  trending  down  one  face.  Brilliant 
mirror  polish. 


27 

tree  peony 


First  Afternoon 


33 — Amber  Snuff  Bottle 

Irregularly  oviform;  carved  in  relief 
with  sages  under  pine  trees,  and  a 
bullock.  Brown  amber  with  golden 
translucenee,  and  a  golden  amber 
stopper. 

34 —  Lapis-lazuli  Snuff  Bottle 
Flattened  flask  shape  with  mask-and- 
rang  handles  at  the  shoulders.  Richly 
mottled  blue,  with  silvery  spangling. 

35 —  Ivory  Snuff  Bottle 
Flattened  flask  shape  with  low  foot. 
Ivory  mellowed  to  rich  warm  tone  and 
penciled  lightly  in  black  lacquer,  on 

one  face  with  a  female  figure  and  attendant,  and  on  the 
other  with  a  landscape  and  architecture. 

36 —  Agate  Snuff  Bottle 

Flask  shape;  gray  agate,  with  a  dragon  carved  in  an 
adjacent  layer  of  black  agate  on  the  shoulder,  and  a 
tiger  in  a  red  layer  at  the  base,  both  in  relief.  Bril¬ 
liant  polish. 

37 —  Jade  Snuff  Bottle 

Bulbous  flask  form  with  low  foot.  Dense  greenish  gray- 
white  jade,  with  a  “skin  of  jade,”  or  layer  of  soft  yel¬ 
lowish-brown  color  on  one  face,  this  layer  being  carved 
with  figures  of  immortals  in  a  supernatural  landscape, 
in  relief. 

38 —  Carved  Ivory'  Snuff  Bottle 

Flattened  inverted  pear-shape,  the  entire  body  carved 
in  relief  and  undercut  with  dragons  in  the  waves  of  a 
turbulent  sea;  stopper  with  dragon  grasping  the  jewel 
of  power. 


Height,  3y2  inches. 


First  Afternoon 


ORNAMENTS  IN  TURQUOISE,  MALACHITE, 
AMBER,  AMETHYST,  JADE  AND 
OTHER  MATERIALS 

39 —  Turquoise  Cabinet  Ornament 

Upright  carving  of  natural  turquoise,  in  openwork, 
representing  three  birds  among  blossoming  peonies 
around  a  bit  of  garden  rockery. 

Height,  3  inches. 

40 —  Pair  Amber  Cups 

Small  and  shallow,  carved  of  transparent  brown  amber 
of  brilliant  golden  translucence,  the  larger  portion  plain 
and  the  exterior  ornamented  with  flowers  and  birds  in 
bold  relief. 

41 —  Jade  Wine  Cup 

Inverted  bell-shape  with  delicate  foot;  translucent  sage- 
green  jade  with  black  fleckings,  and  unctuous  surface 
softly  polished. 

42 —  Pair  Jade  Wine  Cups 

Inverted  bell-shape  with  low,  spreading  foot ;  pure  even- 
toned  translucent  white  jade,  brightly  polished. 

43 —  Jade  Box  with  Cover 

Quadrangular,  with  low  dome  cover.  Dense  jade  of  dark 
fog-gray  with  rich  malachite  markings,  with  the  light  on 
it ;  seen  against  the  light,  either  box  or  cover  sepa¬ 
rately  exhibits  a  delicately  greenish-tinted  translucence, 
with  the  deeper  markings  of  rich  note. 

44 —  Lapis-lazuli  Box  with  Cover 

Oval,  carved  with  a  large  boss  and  umbilicus  at  one  end, 
while  from  the  other  end  issues  a  vine  stem;  possibly 
representing  a  melon  and  its  vine.  The  stem,  carved  in 
openwork,  branches  and  entwines  the  melon,  and  leads 
to  blossoms,  tendrils  and  small  fruits  carved  in  relief. 
Lapis  of  rich  quality  and  soft  polish. 


First  Afternoon 


45 — Amber  Coupe 

Opaque  clouded  amber,  in  rich  dark  brownish-yellow  or 
well-colored  meerschaum  tones,  with  light  yellow  mot- 
tlings,  carved  as  a  branch  and  cupped  leaf  of  a  magnolia 
tree,  with  buds  and  blossoms  in  relief  about  the  exterior. 


46 —  Amethyst  Ornament 

Figure  of  a  quail,  squatting,  with  a  large  sprig  of  rice 
in  its  bill,  carved  in  the  round  of  natural  amethyst,  the 
deeper-toned  parts  brilliantly  polished. 

47 —  Amethyst  Carving 

A  fruit  and  vegetable  group,  including  a  large  egg¬ 
plant,  a  small  pomegranate  and  other  varieties,  with  a 
bird  and  an  insect  seen  on  different  leaves;  the  egg-plant 
in  a  rich  and  fine  tone. 


48 — Turquoise  Desk  Ornament 

A  small  block  of  turquoise  of  a  fine  and  rare  quality, 
carved  as  the  fruit  of  the  Buddha’s-hand  citron  lying 
beside  a  melon,  and  overlapping  a  fisherman’s  basket 
over  which  a  crab  is  crawling.  Softly  luminous  polish. 


49 — Pair  Turquoise  Rouge  Boxes  with  Covers 

Oval  and  shallow;  the  whole  exterior  surface  carved  with 
plum  trees  in  blossom,  and  birds  among  them,  in  relief 
and  undercut. 


50 — Tray  of  Miniature  Ornaments 

A  dog  barking,  in  white  jade,  a  cow  recumbent,  with 
head  raised,  in  turquoise  matrix,  and  a  female  figure  in 
carnelian,  all  on  a  square  plinth  of  translucent  gray 
agate  mottled  in  brown. 


First  lifter  noon 


51 —  Tray  ok  Miniature  Ornaments 

Standing  figure  of  Shou-lao  leaning  on  his  staff,  accom¬ 
panied  by  his  emblem  the  spotted  stag,  and  a  doe,  all 
three  of  pure  white  jade  and  carved  in  the  round,  posed 
on  an  oblong  plinth  of  rich  blue  lapis-lazuli  with  soft 
unctuous  surface. 

52 —  Group  of  Miniature  Figures 

Five  Chinese  boys,  each  separately  carved,  in  amethyst, 
in  various  romping  postures  of  play.  On  carved  wood 
stand. 

53 —  Table  of  Miniature  Ornaments 

Two  figures,  one  standing  and  one  reclining,  of  pure 
white  jade,  a  standing  heron  in  earnelian,  and  a  pillared 
shrine  in  lapis-lazuli,  on  a  low  teakwood  scrolled  table. 

54 —  Table  of  Miniature  Ornaments 

Group  of  a  supple  lady  and  a  boy  at  play,  carved  of 
pure  white  jade,  a  standing  goat  in  lapis-lazuli  matrix, 
and  another  animal,  recumbent,  in  light  yellow  clouded 
amber,  on  a  low  teakwood  scrolled  table. 

55 —  Two  White  Jade  Ornaments 

A  smiling  monkey  trainer,  walking,  with  a  monkey  climb¬ 
ing  over  his  shoulder,  and  a  heron  watching  for  food, 
both  in  pure  white  jade,  on  a  base  carved  in  openwork 
as  rockery. 

56 —  Four  Miniature  Bird  Statuettes 

Four  ducks,  in  different  attitudes,  two  carved  of  lapis- 
lazuli  and  two  of  pure  white  jade;  on  carved  wood  stand. 

56a — Group  of  Four  Miniature  Bird  Ornaments 

Two  onagadori — “the  long-tailed  bird” — carved  in  white 
jade  smoothly  polished,  and  two  smaller  birds  carved  of 
turquoise.  On  carved  wood  stand. 


First  Afternoon 


56b — Flock  of  Birds  in  Miniature 

Six  birds  carved  of  white  jade,  all  with  wings  spread  and 
all  but  one  with  beak  open,  their  postures  differing.  On 
a  long  stand  of  pure  white  jade  of  fine  quality,  with  ivory 
feet. 

Length  of  stand,  9  inches. 


56c — Flock  of  Birds  in  Miniature 

Six  small  birds,  all  with  wings  spread  and  each  in  dif¬ 
ferent  attitude  from  the  others,  carved  in  amethyst  and 
placed  upon  a  long  stand  of  pure  white  jade  of  fine  qual¬ 
ity,  mounted  with  ivory  feet. 

Length  of  stand,  9  inches. 

57 —  Tray  of  Miniature  Carvings 

A  standing  heron  in  black  jade,  its  head  and  crest  white; 
a  stork  preparing  for  flight,  in  green  jade;  and  a  stand¬ 
ing,  sinuous  figure  in  lapis-lazuli  matrix;  all  posed  on 
a  rectangular  plinth  of  pure  translucent  white  jade, 
hollowed  underneath. 

58 —  Four  Jade  Ornaments 

Two  spotted  stags  in  white  jade  brightly  polished,  and 
a  swaying  figure  waving  a  lotus  bud  above  the  head, 
in  dense  sage-green  jade,  the  three  posed  upon  a  white 
jade  pendant  laid  flat.  The  pendant  is  pure  white 
jade  of  fine  quality  and  delicate  translucence,  carved 
on  the  obverse  with  plum  blossoms  and  a  flying  bat  in 
palpable  relief,  and  on  the  reverse  with  a  seal,  perhaps 
the  seal  of  an  order. 

59 —  Group  of  Miniature  Carvings  on  Ornamental  Base 
Two  standing  figures  of  women  in  graceful  attitudes,  one 
in  white  jade  and  one  in  lapis-lazuli,  and  two  minute 
bovines  in  white  jade,  one  grazing  and  one  with  head 
raised,  all  posed  on  a  mottled  soapstone  base  carved  as 
a  mass  of  rockery,  in  a  modified  triangular  form. 

Length  of  base,  -iy4  inches. 


First  Afternoon 


60 — Git o up  ok  Five  White  Jade  Bird  Ornaments 

Five  storks  in  different  attitudes,  each  separately  carved 
and  three  of  them  standing  on  as  many  leaves,  all  carved 
with  great  delicacy  and  brilliantly  polished.  On  wood 
stand,  its  base  teakwood  supported  on  four  ivory  ball 
feet. 


61 — Three  Miniature  Bird  Ornaments  on  White  Jade 
Stand 

Standing  storks  in  different  postures,  one  craning  its 
head  toward  the  water,  and  all  with  wings  spread  or 
partly  spread,  one  bird  in  black  jade  with  its  head  carved 
in  a  vein  of  white,  one  in  translucent  dark  green  jade,  and 
the  third  in  carnelian.  The  stand  is  quadrilateral,  of 
pure  white  jade  with  a  delicate,  vaporous  translucence, 
on  two  broad  button  feet. 

Length  of  stand,  3  inches. 


62 — Three  Jade  Ornaments 

Miniature  figures  of  two  stags  carved  in  light  yellow  soft 
jade,  their  spots  lightly  incised,  one  animal  grazing  and 
one  looking  upward,  posed  upon  a  quadrilateral  base  of 
translucent  gray-white  jade,  its  corners  foliate  and  sur¬ 
face  carved  in  delicate  relief  with  a  flying-fish  above  a 
lotus  pond. 


63 — Three  Jade  Ornaments 

A  spotted  stag  standing,  and  his  doe  partly  recumbent, 
carved  in  miniature  in  dense  dark  green  jade  with  a  soft, 
unctuous  polish,  posed  upon  an  oval  plinth  of  delicately 
translucent  pure  white  jade,  with  a  soft,  restrained 
polish. 


Diameter  of  base,  3  inches. 


First  Afternoon 


64 — Group  of  Eight  Miniature  Carved  Ornaments 

Five  boys,  one  carrying  a  smaller  boy  “pick-a-back,”  all 
in  brightly  polished  white  jade,  at  play  with  three  mon¬ 
keys,  one  monkey  of  fei-ts’ui  jade,  one  of  coral  and  one 
of  pink  tourmaline.  On  elongated  quatrefoil  wooden 
base  resting  on  inverted  lotus  petals  conventionalized  and 
tinted  in  resemblance  to  green-tinted  ivory. 


65 — Jade  Paperweight 

A  water  buffalo  recumbent,  leash  in  nostril  and  a  small 
boy  climbing  on  his  back,  finely  carved  in  pure  white 
jade  with  a  delicate  greenish-white  translucence  and  bril¬ 
liantly  polished. 


66 — Turquoise  Vase  with  Cover 

Quadrilateral,  with  slightly  ovoidal  contour  and  bold 
foot,  completely  embraced  within  the  branches  of  pine 
trees  and  peonies  growing  from  rocks;  on  the  obverse  a 
phoenix,  and  on  the  cover  a  swallow  looking  down. 

Height,  3 y8  inches. 


67 — Amber  Statuary  Group 

Brown  amber  of  rich  tone,  and  very  slight  translucence, 
carved  as  the  figure  of  an  elderly  woman  holding  an  in¬ 
fant  on  her  knee  and  against  her  breast.  The  back  has 
the  fine  warm  tone  of  ivory  that  has  long  felt  the  in¬ 
fluence  of  incense  fumes. 

Height,  3 y2  inches. 


68 — Pair  Agate  Coupes 

Oval,  with  ovoid  contour  and  low  foot,  and  two  dragon¬ 
head  loop  handles  with  loose  rings.  Thin,  translucent, 
grayish-opalescent  agate,  brilliantly  polished. 

Length,  3%  inches. 


First  Afternoon 


69 —  Arrangement  of  Three  Animal  Sculptures 
Three  Fu-lions,  one  in  translucent  tourmaline  of  deli¬ 
cately  varying  tone,  couchant,  and  holding  a  spray  of 
the  polyporus  lucidus  on  its  back,  on  a  carved  and  per¬ 
forated  teakwood  stand,  flanked  by  two  active  com¬ 
panions,  one  in  opaque  gray-white  jade  and  the  other  in 
malachite  of  rich  color  and  brilliant  surface. 

Lengths,  2%  inches,  3 y8  inches,  3yg  inches. 

70 —  Two  Ornamental  Boats 

One  of  pure  white  jade,  containing  the  boatman  and  a 
passenger  who  holds  a  lotus  blossom  showing  the  seed- 
pod.  One  of  lapis-luzuli,  with  a  solitary  boatman  hard 
at  work. 

Length  of  jade  boat,  3%  inches. 

71 —  Turquoise  Water  Cup  with  Cover 

A  writer’s  water  cup  in  the  form  of  a  lotus  seed-pod,  rest¬ 
ing  upon  stems  and  leaves  of  the  plant  carved  in  relief 
and  undercut,  with  lesser  seed-pods  on  the  sides  and 
nude  hoys  climbing  over  the  edges.  Another  boy  playing 
with  a  fish  is  seated  on  the  disc  cover.  The  whole  in 
natural  turquoise  of  pale  hue.  Tinted  ivory  stand  carved 
in  openwork. 

Height,  3  inches. 

72 —  Coral  Vase  with  Cover 

White-mottled  pink  coral,  brightly  polished,  carved  as 
a  carp  rising  on  its  tail.  In  relief  and  undercutting 
about  it  is  a  blossoming  branch  of  the  tree  peony,  up 
which  a  small  boy  is  climbing.  Cover  with  blossom 
finial. 

Height,  3%  inches. 

73—  — Jade  Ornament 

Figure  of  a  genial  boy,  holding  up  a  double-gourd  shaped 
vase  from  which  issues  cloud  vapor,  above  it  being  an 
emblematic  bat;  carved  in  white  jade  finished  with  a 
soft  polish. 


Height,  3i/g  inches. 


First  Afternoon 


74 —  Agate  Vase 

Carved  in  representation  of  a  fish  dragon  with  mouth 
opening  upward,  and  tail  curling  up  in  undercutting 
and  supporting  a  smaller  dragon,  all  in  grayish  opales¬ 
cent  agate,  while  on  one  face  a  third  dragon  glaring 
at  the  flaming  jewel  is  cut  in  adjacent  layers  of  white 
and  bluish-green  agate. 

Height,  3 y2  inches. 

75 —  Lapis-lazuli  Vase  with  Cover 

Carved  in  the  form  of  a  recumbent  spotted  stag,  his 
spots  being  represented  bv  detached  prunus  blossoms 
in  low  relief,  the  animal  bearing  on  his  back  a  slender 
cylindrical  vase,  which  is  embraced  by  the  antlers  and 
has  a  low  dome-shaped  lapis-lazuli  cover  with  scrolled 
loop  handle.  (Cork  inserted  in  cover  for  stability.) 

Height,  3 y2  inches. 

76 —  Soapstone  Carving 

Monju,  goddess  of  wisdom,  seated  on  a  lion  which  is 
lying  down  with  head  turned  to  its  left,  the  direction  in 
which  the  figure  of  the  goddess  faces.  The  goddess’s 
robes  incised  with  embroidered  borders  and  her  hair 
colored  in  India  ink. 

Height  3%  inches. 

77 —  Lapis-lazuli  Vase  with  Cover 

Flattened  pear-shape  on  low  foot,  with  slender  neck  and 
bell-shaped  cover.  Continuous  scroll  handles  run  prac¬ 
tically  the  length  of  the  sides,  and  a  lesser  scroll,  in 
accord,  arches  over  the  cover.  Rich  blue  lapis  with  light 
diagonal  veins  and  patches,  brightly  polished. 

Height,  3%  inches. 

78 —  Lapis-lazuli  Pi-t’ung 

Conventional  cylindrical  form,  carved  of  a  solid  block 
of  lapis-lazuli,  the  veins  a  rich  blue  in  a  soft  grayish 
ground  and  the  whole  sparkling  with  minute  silvery 
deckings.  Exterior  carved  in  low  relief  with  ducks  stand¬ 
ing  and  flying,  in  and  over  a  lotus  pond. 

Height,  3%  inches. 


First  Afternoon 


79 —  Set  of  Three  Jade  Cups 

Deep  bell-form,  with  bold  foot  slightly  expanding. 
Carved  of  rich  dark  green  jade  of  delicate  translucence, 
and  b  rightly  polished. 

79a — Set  of  Three  Jade  Cups 
Companions  to  the  preceding. 

79b — Fei-ts’ui  Jade  Coupe 

Delicately  fashioned,  in  ovoidal  jar  shape,  with  short 
lip  the  equivalent  of  the  low  foot;  on  one  side  a  grass¬ 
hopper,  carved  in  relief  and  undercut,  forms  a  handle. 
Translucent  fei-ts'ui  jade  with  brilliant  polish. 

80 —  Carved  Amber  Vase 

In  the  form  of  a  deeply-cupped  lotus  leaf,  with  buds, 
leaves  and  blossoms  carved  in  relief  all  about  it,  on  an 
openwork  base  which  continues  the  lotus  motive  and 
exhibits  in  addition  a  frog.  Translucent  brown  and 
yellow  amber,  with  areas  of  opaque  yellow  of  which  ef¬ 
fective  use  has  been  made  in  the  carving. 

Height,  3%  inches. 

81 —  Pair  Green  Jade  Bowls  ( Ch’ien-lung ) 

Deep  inverted  bell  shape  with  bold  expanding  foot. 
Dense  dark  green  jade  with  restricted  translucence  and 
some  opaque  portions,  and  a  bright  polish.  Carved  in 
low  relief  with  a  ju-i  border  under  the  lip  and  a  con¬ 
ventional  petal  border  above  the  foot,  and  between  them 
with  a  band  of  highly  developed  conventional  lotus  scroll. 
Underneath  the  foot,  the  six  characters  of  the  reign, 
incised. 

Diameter,  3%  inches. 

81a — Pair  Flowering  Plants  in  Miniature 

Shrubs  with  long  lanceolate  leaves  of  chloromelenite, 
their  veins  lightly  etched,  and  tiny  amber  blossoms.  In 
tripod  jardinieres  of  softly  polished  lapis-lazuli. 

Height,  3  inches. 


First  Afternoon 


81b — Jade  Miniature  Plant 

A  chrysanthemum  plant  with  leaves  of  green  jade,  and 
varied  flowers  of  yellow  and  white  jade,  lapis-lazuli,  tur¬ 
quoise  and  pink  tourmaline,  in  an  agate  jardiniere  having 
three  short  feet. 

Height,  3  inches. 

81c — Pair  Jade  Miniature  Plants 

Buddha’s-hand  citron  and  pomegranate,  with  leaves  of 
green  jade,  and  flowers  and  fruit  of  white  jade,  amber 
and  pink  tourmaline;  in  jardinieres  of  fei-ts’ui  jade,  with 
three  low  feet  carved  and  pierced. 

Height,  3 y2  inches. 

81d — Pair  Miniature  Plants  in  Varied  Stones 

A  chrysanthemum  plant  with  leaves  of  green  jade  and 
blossoms  of  agate,  turquoise,  lapis-lazuli,  and  white  and 
yellow  jade,  and  a  winter-blooming  plum  tree  flowering  in 
white  jade,  agate,  lapis-lazuli  and  amethyst.  In  fei-ts’ui 
jade  jardinieres,  octagonal  with  four  low  feet. 

Heights,  3^  and  3S/J  inches. 

81  e— Pair  Miniature  Trees 

Wild  plum  trees,  one  blossoming  in  white  jade  and  one  in 
agate,  each  tree  in  a  many-sided  jardiniere  of  mottled 
green  jade. 

Heights,  4  and  inches. 


82 —  Rhinoceros  Horn  Cup 

Exterior  carved  in  bold  relief  and  undercutting  with  pine 
trees,  waves  and  a  pavilion,  and  figures  at  a  game,  the 
interior  with  cliffs  and  clouds  in  light  relief. 

Height,  4  inches. 

83 —  Jade  Bowl 

Broad  inverted  bell  shape  with  low  retired  foot.  Thin, 
translucent  jade  delicately  fashioned,  grayish-white  with 
greenish  trend;  soft  polish.  Under  the  foot,  Ch’ien-lung 
nien  chili  in  seal  characters,  incised. 


Diameter,  4%  inches. 


First  Afternoon 


84 — Covered  Coupe  in  Pure  White  Jade 

Ovoidal,  carved  throughout  in  lotus  motive,  with  an  en¬ 
tanglement  of  buds,  stems  and  leaves  surrounding  it,  a 
heron  appearing  among  them,  all  carved  in  relief  and 
undercutting.  Brilliant  polish.  Carved  and  inlaid  teak- 
wood  and  tinted  ivory  stand. 

Length,  4  inches. 


85 — Coral  Group 

Twin  figures  of  smiling  young  women,  in  touch  back  to 
back  and  leaning  to  opposite  sides,  in  coquettish  atti¬ 
tudes,  one  holding  a  peony  above  her  head  with  one  hand 
and  resting  her  other  hand  on  the  head  of  a  stork  at  her 
feet,  from  which  a  leash  leads  to  the  upraised  hands 
of  her  companion.  Rich  pink  coral  brilliantly  polished. 

Height,  4  inches. 


86 — Coral  Statuette 

Sinuous  figure  of  a  lady,  smiling  and  carrying  a  lute 
which  is  carved  with  the  head  of  a  ju-i  sceptre.  Bril¬ 
liant  pink  coral  with  white  mottling. 


Height,  4%  inches. 


First  Afternoon 


87 — Equestrian  Ornament 

Figure  of  a  horse  lying  down,  with  His  head  turned  to 
look  behind  him  and  just  touching  his  back,  carved  in 
delicate  pink  and  white  quartz,  and  brilliantly  polished. 

Length,  4%  inches. 


88 — Chinese  Glass  Bird  Group 

A  rare  and  beautiful  clear  emerald-green  glass  carved 
in  the  form  of  two  crested  aquatic  birds,  one  smaller  than 
the  other,  standing  amid  lotuses;  wing  and  tail  feathers 
in  relief  and  incised.  Blossoms  delicately  veined  in  re¬ 
lief  and  by  incision,  and  one  appearing  in  the  seed-pod 
stage. 

Height,  4%  inches. 


89 — Rhinoceros  Horn  Cup 

Carved  in  relief  and  undercutting  with  trees,  rocks  and 
figures  in  a  boat,  against  a  background  of  overlapping 
and  incised  waves. 

Height,  4%  inches. 


90 — Carved  Ivory  Vase 

Ovoidal  with  low  spreading  foot,  high  narrow  shoulder, 
and  short  neck  with  expanding  lip.  Foot  and  shoulder 
carved  with  floral  borders  in  relief,  the  neck  with  fisher¬ 
men  in  boats.  Entire  body  carved  in  cavo-rilievo  with 
many  figures,  and  buildings,  against  an  incised  back¬ 
ground;  two  Fu-head  and  deep  ring  handles. 

Height,  4>4  inches. 


91 — Jade  Pi-t’ung  ( Ch’ien-lung ) 

A  slender  cylinder  on  four  low  ju-i  feet,  carved  of  trans¬ 
lucent  gray-white  jade  with  heavy  black  veins  and 
patches;  the  whole  with  soft  polish.  Underneath,  seal 
mark  of  Ch’ien-lung. 


Height  4 %  inches. 


First  Afternoon 


9*2 — Agate  Vase 

Deep  cup-shape,  carved  as  an  inverted  bell-shaped  flower 
rising  from  its  stem,  a  blossom  of  many  petals,  and  sur¬ 
rounded  bv  stems,  leaves  and  buds  in  relief.  Dense  car- 
nelian  agate  of  rich  tones,  with  a  soft  polish.  Carved 
wood  openwork  stand. 

Height,  4 y2  inches. 


93 — Lapis-lazuli  Ornament 

A  crudely  fashioned  boat,  carved  as  a  dugout  from  the 
root  of  a  pine  tree,  with  the  tree  trunk  curving  up  to 
form  a  high  stern,  and  a  long  branch  extending  for¬ 
ward  almost  as  far  as  the  bow,  overshadowing  a  boat¬ 
man  and  his  solitary  passenger.  Carved  of  a  single  slab 
of  malachite. 

Length,  4%  inches. 


9d — Two  Animal  Statuettes 

A  Fu-lion  on  its  haunches,  with  tail  over  back  and  parted 
jaws,  in  opaque  gray-white  jade  brilliantly  polished; 
and  a  Fu-lion  with  cub  in  malachite  of  rich  tones  and 
soft  brilliancy. 

Lengths,  4%  inches  anti  4y2  inches. 


95 — Rock  Crystal  Ornament 

A  Fu-lion  grasping  the  brocaded  ball,  a  fillet  from  which 
passes  through  the  lion’s  jaws  and  streams  over  its 
back,  while  a  small  cub  looks  up  from  below.  Clear 
transparent  rock  crystal,  brilliantly  polished. 

Length,  4%  inches. 


96 — Rock  Crystal  Jar  with  Cover 

Spherical  with  small  mouth  and  insetting  cover,  the  cover 
with  pointed  knob  finial.  Around  shoulder  of  jar  an 
archaic  lizard  dragon  in  low  relief.  Transparent  crystal 
with  soft  polish. 


First  Afternoon 


97 —  Rock  Crystal  Teapot  with  Cover 

Ovoid,  with  short  spout  slightly  recurving,  and  loop 
handle  with  short  drop.  A  plum  tree  in  blossom  em¬ 
braces  practically  the  whole  exterior,  carved  in  bold 
relief.  Flattened  dome  cover  with  bird  finial.  Brilliant 
polish. 

Height,  4%  inches. 

98 —  Fei-ts’ui  Jade  Bowl  with  ('over 

Oviform  with  bold  foot,  and  Haring  lip  lightly  molded. 
Thin,  semi-transparent  fei-ts’ui  jade,  with  large  areas 
of  gray-white  and  bold  markings  of  deep  dark  emerald- 
green.  Bright  polish. 

Diameter,  41/ ,  inches. 


99 — Jade  Bowl  with  Cover 

Inverted  bell-shape  with  bold  foot,  flaring  to  an  upright 
lip;  dome  cover  with  flange  handle.  Translucent  jade 
of  yellowish  gray-white,  with  brownish  cloudings;  soft 
polish. 

Diameter,  4%  inches. 


100 — Pair  Jade  Bowls  with  Covers 

Flaring  inverted  bell  form  with  low  foot,  and  dome 
covers  with  conventional  “foot-handle.”  Gray-white 
jade  with  greenish  trend,  and  delicate  translucence,  ap¬ 
proaching  and  sometimes  classified  with  the  fei-ts’ui 
variety.  Bowls  and  covers  carved  with  Buddhistic  em¬ 
blems  in  low  relief  and  incised  borders,  and  brightly 
polished. 

Diameter,  4 >4  inches. 


101 — Amber  Statuette 

A  standing,  smiling  figure  in  clinging  robes,  carved  in 
translucent  dark  brown  amber,  brilliantly  polished. 
Carved  openwork  teakwood  stand  in  pine,  rock  and  fun¬ 
gus  motives,  with  two  birds. 


Height,  4%  inches. 


First  Afternoon 


102 — Pair  Fruit  Dishes  with  Accessories 

Circular  plates  or  saucers,  of  ovoid  contour,  with  de¬ 
pressed  bottom  and  broad  foot,  of  translucent  turquoise- 
blue  glass  of  the  Ch’ien-lung  period,  set  in  five-legged 
table-stands  of  carved  teakwood  and  filled  with  fruits 
and  other  objects.  The  contents  include  bunches  of 
grapes  in  aquamarine  and  amethyst,  with  green  jade 
leaves,  melons  in  greenish-gray  and  mottled  agate  and 
in  amber,  peaches  of  amethyst  and  an  egg-plant  of  white 
jade,  and  magnolia  blossoms  in  yellow  and  brown  amber. 

Diameter  of  dishes,  5%  inches. 


103 — Pair  Green  Jade  Bowls  with  Covers 

Inverted  bell  shape  with  bold  foot,  the  expanded  lip 
molded  on  the  inner  side  for  the  exact  fitting  of  the 
dome  cover.  Richly  mottled  dark  green  jade,  with  deli¬ 
cate  translucence  modulated  as  by  drifting  moss  and 
grasses.  Brilliant  mirror  polish. 


Diameter,  4%  inches. 


First  Afternoon 


104 — Pair  White  Jade  Bowls  ( Ch’ien-lung ) 

Broad  inverted  bell-shape,  the  lip  lightly  flaring;  bold 
foot.  Carved  of  pure  white  jade  of  snowy  translucence, 
and  finished  with  a  mirror  polish. 

Diameter,  5%  inches. 


105 — Amber  Statuary  Group 

Kuan-yin  enthroned,  with  her  necklace  and  the  ornamen¬ 
tation  of  her  throne  finely  incised,  accompanied  by  a 
standing  attendant.  The  goddess’s  hands  are  crossed 
in  front  of  her,  palms  inward,  and  the  attendant’s  hands 
are  clasped  and  extended  in  devotion.  Back  of  the  god¬ 
dess  a  rock  rises  as  a  halo,  a  swallow  perches  on  a  ledge 
of  it,  and  at  the  rear  are  bamboo  trees  in  relief.  Amber 
base  carved  in  relief  with  waves,  fish  and  shellfish,  a  water 
snake  and  a  frog.  All  of  brown  amber  with  golden 
translucence. 


Height ,  5%  inches. 


First  Afternoon 


106 —  Fei-ts’ui  Jade  Bowl 

Oviform  and  shallow,  expanding  from  a  broad  and  low 
flat  foot,  contracting  gracefully  and  expanding  again  to 
a  thin  lip.  Thin,  semi-transparent  fei-ts’ui  jade,  brightly 
polished. 

Diameter,  4%  inches. 

107 —  White  Jade  Bowl  with  Cover 

Bowl  oviform  with  flaring  lip,  and  low  and  broad  flange 
foot.  Exterior  finely  carved  with  a  lotus  band  in  high 
conventionalization,  and  a  conventional  petal  border 
above  the  foot ;  on  the  inner  side  of  the  lip  a  scroll  border. 
Bell-shaped  cover  with  flange  handle.  The  cover  is 
pierced  with  a  deep  lotus  band  and  with  a  border  of 
scrolls,  and  within  the  ring  of  the  handle  is  pierced 
further  with  a  scrolling  quatrefoil  enclosing  an  incised 
seal  mark  of  Ch’ien-lung.  This  mark  is  repeated  under¬ 
neath  the  bowl,  but  to  ascribe  the  pieces  to  that  reign 
would  be  an  apocryphal  attribution.  Brilliant  polish. 

Diameter,  5  inches. 

108 —  Rock  Crystal  Amphora 

Conventional  shape,  with  deeply  hollowed  or  socket  foot, 
short  wide  neck  and  everted  lip.  Soft,  bright  polish. 

Height,  5  inches. 

109 —  Fei-ts’ui  Jade  Statuette 

Standing  female  figure,  holding  a  fly  whisk,  with  a 
phoenix  beside  her  on  a  ledge  of  openwork  rockery ; 
carved  in  fei-ts’ui  jade  of  soft  and  delicate  emerald- 
green  hue,  with  areas  of  vivid  white,  the  whole  brilliantly 
polished. 

Height,  5 y8  inches. 

110 —  Amber  Statuette 

Standing  figure  of  Kuan-yin,  with  hands  folded  one  upon 
the  other  at  the  waist  line,  palms  upward.  Opaque 
brown  amber,  rich  and  clouded,  and  brightly  polished; 
on  translucent  amber  base  with  internal  crystalline 
structure  of  sparkling  golden  effect. 


Height,  514  inches. 


First  Afternoon 


1 1 1 — Soapstone  Statuette  ( Ming) 

A  graceful  and  precisely  carved  figure  of  the  goddess 
Kuan-yin,  seated  with  left  leg  doubled  under  and  right 
knee  raised,  the  right  foot  projecting  unshod  from  a 
fold  of  her  flowing  robes.  On  the  raised  knee  rests  her 
right  hand,  holding  a  rosary,  her  left  hand  lies  across 
it,  holding  a  scroll,  and  she  glances  downward  with  head 
turned  to  her  leftward.  Headdress  and  necklace  ex¬ 
hibit  seed  pearls  and  her  robes  are  intricately  engraved 
with  lotus  embroidery. 


Height,  5 ys  inches. 


First  Afternoon 


1 1 2 —  Amber  Ornament 

Seated  figure  of  the  god  of  longevity,  Shou-lao,  holding 
his  staff  and  his  emblem  the  peach,  while  another  of  his 
emblems  the  spotted  stag  stands  beside  him,  under 
spreading  pine  trees.  Carved  and  undercut  in  brilliant 
translucent  brown  and  golden  yellow  amber. 

Length,  5%  inches. 

113 —  Set  oe  Four  Jade  Wine  Cups 

Ovoidal;  translucent  white  jade  brightly  polished. 
Around  the  centre  a  band  of  fine  carving  in  low  relief, 
in  conventional  archaic  motives  after  the  ancient  bronze 
forms. 

Ill — Set  of  Six  Jade  Wine  Cups 

Inverted  bell-shape  with  low  foot.  Finely  fashioned  in 
translucent  green  jade  with  variable  black  fleckings  and 
patches,  and  brightly  polished. 

115 —  White  Jade  Pi-t’ung  ( Ch’ien-lung ) 

Hexagonal,  the  corners  then  chamfered;  on  six  low  ju-i 
feet.  Finely  carved  in  relief  with  a  blossoming  wild 
prunus  tree  and  a  flourishing  plant  of  the  camellia,  on 
a  brightly  polished  ground.  Pure  white  jade  of  an 
excellent  quality  and  the  translucence  of  alabaster. 

Height,  5  inches. 

116 —  Rock  Crystal  Vase  with  Cover 

Slender  oviform,  with  low  spreading  foot;  on  the  neck 
four  fungus-branch  loop  handles  with  loose  rings;  dome 
cover  with  blossom  finial.  Brilliant  transparent  rock 
crystal  with  smooth  polish. 

Height,  5%  inches. 

117 —  Jade  Ornament 

A  long  boat  with  an  after  canopy  of  braided  matting, 
and  propelled  by  a  boatman  with  a  large  sweep,  has  on 
board  also  a  smiling  boy  and  young  woman;  the  whole 
carved  in  pure  white  jade  and  brightly  polished.  Ivory 
stand  carved  in  turbulent  wave  motive  and  tinted. 

Length,  5i/a  inches. 


First  Afternoon 


118-  — Lapis-lazuli  Table  Screen 

An  upright  oblong  tablet  of  lapis-lazuli,  the  obverse 
carved  in  relief  with  a  boatman  and  his  passenger  under 
pine  and  willow  trees  in  the  rain,  and  the  reverse  incised 
with  an  inscription  in  forty  characters.  In  carved  teak- 
wood  rustic  stand. 

Height,  3%  inches;  with  stand,  5%  inches. 

119 —  Carved  Ivory  Folding  Picture-frame  and  Chinese 

Painting  on  Glass 

Oblong  folding  frame,  obverse  and  reverse  formed  of 
delicate  swastika  grills,  supporting  sprays,  emblems  and 
ornaments  in  low  relief  and  tinted  in  warm  colors.  In  the 
interior,  one  fold  contains  a  mirror,  the  other  a  glass¬ 
painting  of  three  mandarin  youths  in  blue,  green  and 
red,  watching  the  goldfish  in  a  decorated  bowl. 

Height,  5%  inches. 


120 — Rock  Crystal  Ornamental  Dish 

In  quatrefoil  form,  elongated,  on  four  low  ju-i  feet;  two 
loop  and  loose-ring  handles  at  the  ends,  carved  on  top 
with  daisies,  and  two  animal  side  handles  in  high  relief 
and  undercutting.  Shallow  body,  with  a  fish  and  spray 
carved  in  relief  on  the  bottom.  Clear  transparent 
crystal  with  bright  polish.  Tcakwood  table-stand. 

Length,  5%  inches. 


121 —  Rock  Crystal  Ball 

A  sphere  of  clear,  pure,  flawless  crystal,  with  a  brilliant, 
perfect  polish.  Carved  table-stand. 

122 —  Set  of  Eight  Rare  Jade  Wine  Cups 

Flaring  inverted  bell-shape  with  low  foot.  Delicately 
carved  in  white  jade  of  semi-eggshell  thinness,  semi- 
transparent.  The  texture,  especially  when  the  cups  are 
held  to  the  light,  suggests  a  winter  atmosphere  sur¬ 
charged  with  finely  driven  snow.  Softly  brilliant  polish. 


First  Afternoon 


123 —  White  Jade  Incense  Burner  with  Cover  ( Ch’ien - 

lung  ) 

Cauldron  shape  with  low  expanding  foot  and  lightly  ex¬ 
panding  rim,  and  two  blossom-spray  loop  handles.  Ex¬ 
terior  carved  in  delicate  relief  with  conventional  lotus 
and  chrysanthemum  motives,  executed  with  suggestions 
of  the  Thibetan  manner.  Dome  cover  pierced  in  foliar 
design,  incised  and  finished  with  a  knob  handle  in  blos¬ 
som  form.  Thin,  translucent  white  jade  with  soft  polish. 

Height,  4  inches;  width  across  handles,  5  inches. 

124 —  Fei-ts’ui  Jade  Ornamental  Group 

Slender  female  figure,  standing  on  rockery  with  a  phoenix 
at  her  feet,  her  draperies  and  adornments  carved  in  re¬ 
lief  and  streamers  swinging  free  of  her  apparel,  in  bril¬ 
liant  fei-ts'ui  jade  richly  mottled.  Posed  in  a  teakwood 
grotto  with  an  alert  dog  carved  of  fei-ts'ui  jade  at  her 
side. 


Height,  5%  inches. 


First  Afternoon 


125 — Malachite  Vase  with  Cover 

Ovoid  jar  shape  with  short  foot  and  lip,  and  two  lion- 
head  loop  and  loose-ring  handles.  Carved  in  high  relief 
on  either  face  of  the  jar  are  birds  in  blossoming  trees  of 
the  wild  prunus,  and  on  one  face  bamboo  trees  appear  in 
addition.  Dome  cover  with  a  knob  finial,  three  ju-i 
branches  forming  loops  from  the  knob  to  the  shoulder  of 
the  cover,  and  each  sustaining  a  loose  ring.  Solid,  heavy 
malachite,  of  deep,  rich  color,  and  brilliantly  polished. 

Height,  5%  inches. 


126 — Coral  Ornament 

A  twisting  trunk  of  a  tree  coral  carved  as  the  bending 
figure  of  a  lady  on  whose  back  a  little  lady  in  trousers 
is  climbing.  The  principal  figure  carries  above  her  head 
a  spray  of  flowers,  on  which  a  bird  perches  high  aloft. 
Rich  pink  coral  with  soft  polish. 

Height,  0  inches. 


127 — Aquamarine  Statuary  Group 

Tall  and  slender  figure  of  Kuan-yin,  with  very  high  head¬ 
dress,  holding  in  her  right  hand  uplifted  a  scroll  and  in 
her  left  a  vase  which  rests  against  her  body,  and  ac¬ 
companied  by  a  smiling  attendant  who  stands  before 
her.  Brightly  polished  aquamarine,  with  patches  of  bril¬ 
liant  iridescence  within  the  crystalline  interior.  Carved 
teakwood  and  brocade  bases. 

Height,  fi'/i  inches. 


128 — Fei-ts’ui  Jade  Sculpture 

Group  of  a  heron  and  a  stag,  standing  on  rockery  be¬ 
neath  a  pine  tree,  the  tree  and  the  figures  carved  in  the 
round  and  the  rockery  pierced.  Translucent  jade  of 
pale  emerald-green,  lightly  mottled,  glistening  under  a 
brilliant  polish. 


Height.  6%  inches. 


First  Afternoon 


129 — White  Jade  Incense  Burner  with  Cover  ( Ch’ien - 
lung) 

Ovoidal  jar  shape  with  broad  flat  foot  and  flattened 
shoulder,  the  entire  surface  carved  in  relief  with  three 
imperial  dragons  among  clouds,  the  animals’  heads  pro¬ 
jecting  over  the  shoulder  just  to  the  rim  of  the  jar’s 
mouth.  Double-dome  cover  carved  in  conventional 
bronze  motives,  the  superior  dome  pierced  in  dragon 
design.  White  jade  of  a  fine,  rich  and  soft  color  qual¬ 
ity,  and  clear  and  delicate  translueence. 


Height,  4ys  inches;  diameter,  5  inches. 


First  Afternoon 


130 — Coral  Ornament 

Standing  figure  of  a  slender  and  smiling  lady,  a  peony 
crowning  her  high  headdress  and  another  held  in  her 
right  hand,  a  phoenix  perched  at  her  feet  and  a  dragon 
hiting  a  chain  held  in  her  left  hand.  Carved  in  a  single 
piece  of  tree  coral,  pink  with  a  glossy  surface. 

Height,  (i '/,  inches. 


131 —  Feits’ui  Jade  Ornament 

A  peach  tree  laden  with  its  life-prolonging  fruit  is  de¬ 
picted  growing  from  a  heavy  and  rambling,  gnarled  root, 
on  the  opposite  end  of  which  stands  a  basket  filled  with 
the  sacred  fungus,  while  at  the  centre  of  the  low-lying 
root  or  trunk  stands  the  figure  of  an  immortal,  all  carved 
in  the  round  in  richly  and  beautifully  mottled  fei-ts’ui 
jade,  brilliantly  polished. 

Length,  6  inches. 

132 —  Green  Jade  Tripod  Incense  Burner  with  Cover 
Spherical  body  on  three  conventional  animalistic  feet, 
with  dragon-head  loop  and  loose-ring  handles.  Dense 
opaque  dark  green  jade  brightly  polished.  Encircled  by 
a  lightly  sunken  band  carved  in  low  relief  with  archaic 
dragons  highly  conventionalized.  Cover  surmounted  by 
a  lion  grasping  a  peony  branch. 

Height,  (»  inches. 

133—  — Amber  Statuette  (Ming) 

Ivuan-yin  seated  on  a  lotus  throne,  a  hand  resting  on 
each  thigh  and  her  flowing  draperies  folding  over  her 
forearms.  Necklace  carved  in  relief  on  her  bared  breast, 
and  the  floral  embroideries  of  her  garments  and  cowl 
finely  incised.  Back  of  the  crown  of  her  head  the  cowl 
bears  a  Shou  medallion.  Finely  carved  in  a  single  block 
of  rich  dark  brown  amber,  opaque  for  the  most  part 
but  with  golden-brown  translucence  in  the  thinner  por¬ 
tions,  and  having  a  brilliant  polish. 

Height,  6%  inches. 


First  Afternoon 


134 — White  Jade  Vase  with  Cover  ( Cli'ien-hmg ) 

Globular  on  a  columnar  stan¬ 
dard,  the  standard  molded  and 
carrying  as  ornaments  three 
dragon-heads  supporting  loose 
rings ;  globe  pierced  with  three 
foliated  medallions  of  lotus 
pattern,  and  the  shoulder  sur¬ 
mounted  by  three  sheep  in  high 
relief.  Hollow  knob  cover  or 
stopper,  pierced  with  three 
quatrefoils  and  a  trefoil. 

Height,  61/,  inches. 

1 35 — Lapis-lazuli  Ornament 

Carved  as  a  Chinese  junk  with 
single  sail  raised,  two  men  be¬ 
ing  still  engaged  with  the  hal¬ 
yards  and  guides,  while  a  boy 
is  playful  on  deck  and  a  cat 
and  a  dog  are  seen  at  their 
ease.  The  deck  house  is  carved 
at  either  side  with  a  grill,  one 
of  the  grill  panels  being  swung  on  a  pivot. 

Height,  5y,  inches;  length,  6  inches. 

136 — Pair  White  Jade  Bowls  with  Covers 


f: 

i 


134 


Inverted  bell  form  with  expanding  lip  and  low  flaring 
foot.  Exterior  carved  in  relief  with  a  band  of  lotus 
blossoms,  leaves  and  seed-pods,  a  ju-i  border  under  the 
lip  and  a  conventional  petal  border  above  the  foot.  Just 
within  the  lip  a  plum  blossom  border  in  delicate  relief. 
Dome  cover,  pierced  with  a  corresponding  lotus  band, 
carved  with  a  similar  petal  border,  and  incised  with  a 
border  of  key-fret.  Both  bowl  and  cover  show  incised 
seal  marks  of  Ch’ien-lung  (apocryphal).  Pure  white 
jade  of  snow-cloud  translucence. 


Diameter,  C'/8  inches. 


First  Afternoon 


137 —  Pair  Fei-ts’ui  Jade  Dishes 

Ovoidal  saucer-shape  with  low  and  broad  foot  and  deli¬ 
cate  lip.  Transparent  fei-ts'ui  jade  brilliantly  polished, 
the  greater  area  a  soft,  vaporous  grayish-white,,  varying 
in  the  vaporous  density,  generously  flecked  and  threaded 
with  green. 

Diameter,  (>%  inches. 

138 —  Rock  Crystal  Wine  Pot  with  Cover 

Quatrefoil  shape,  on  four  knob  feet,  with  projecting 
spout  slightly  recurving,  and  recurving  loop  handle; 
dome  cover  with  pointed  knob  finial.  Clear  crystal, 
brightly  polished. 

Length,  6]/s  inches. 

139 —  Rock  Crystal  Statuette 

Seated  figure  of  Kuan-yin  in  flowing  robes  and  cowl, 
right  hand  on  raised  knee  and  right  bare  foot  projecting, 
left  hand  invisible.  Clear,  highly  polished  crystal  of  re¬ 
markable  brilliancy.  On  conventional  lotus  base  carved 
of  dense  opaque  green  jade. 

Height,  4%  inches:  with  base,  (i '/,  inches. 

140 —  Lapis-lazuli  Statuette 

Standing  female  figure,  with  smiling  features,  carrying 
over  her  shoulder  a  stout  branch  of  the  tree  peony  in 
luxuriant  bloom,  a  basket  pendent  from  it  at  her  back. 
Beside  her  a  swallow  perches  on  a  rock.  Lapis-lazuli 
of  rich  color,  with  soft  polish. 

Height,  G</2  inches. 

141—  Malachite  Rock 

A  cavernous  rock-like  mass  of  malachite  matrix  in 
natural  state,  the  structure  except  for  color  resemblin 
a  calcareous  tufa  formation,  and  the  mass  expandin 
as  it  rises  from  a  small  base.  On  top  a  farmer  in 
carnelian  and  a  white  jade  duck,  and  elsewhere  a  white 
jade  figure  and  a  green  jade  spotted  stag.  On  a  five¬ 
legged  table-stand  of  carved  teakwood. 

Height  of  rock,  3%  inches:  with  stand,  (ii/2  inches. 


bt  be. 


First  A  ftcrnoon 


142 — Pair  White  Jade  Boxes  with  Covers 

In  the  form  of  squatting  birds,  with  plumage  in  relief 
and  incised,  eacli  holding  in  its  beak  a  floral  spray  carved 
and  undercut. 

Length,  (i  inches. 


143 — Soapstone  Ornament 

A  heavy,  low  mound-shaped  block  of  ivorv-toned,  gray 
and  dark  red  soapstone,  carved  en  masse  with  a  phoenix 
recumbent  on  rocks,  its  head  against  a  peony,  and  a 
dragon  grasping  the  jewel  of  omnipotence  above  rolling 
waves,  below  cloud  banks,  the  whole  executed  in  relief 
and  undercutting,  with  incised  details,  and  given  a  soft 
polish.  Elaborately  carved  and  pierced  teakwood  stand. 

Height,  3%  inches;  diameter,  6%  inches. 


144 — Malachite  Bird  Statuette 

Figure  of  a  plump  short-billed  aquatic  bird,  squatting 
on  the  ground,  holding  in  its  beak  a  lotus  branch  with 
bud,  seed-pod  and  scrolling  leaves,  which  trails  over  its 
back.  The  bird  is  carved  in  the  round,  with  engraved 
wing  and  tail  feathers,  and  the  lotus  in  relief  and  under¬ 
cutting,  in  a  block  of  malachite  of  very  rich  color  and 
delicate  mottling,  finished  with  a  luminous  polish. 

Height,  3%  inches;  length,  6%  inches. 


First  Afternoon 


145 —  Malachite  Bird  Group 

A  pair  of  mandarin  ducks,  emblems  of  conjugal  felicity, 
side  by  side  but  one  a  little  ahead  of  the  other  and  turn*- 
ing  back  its  bead.  They  grasp  in  their  bills  stems 
of  a  lotus  spray,  which  blossoms  overhead  and  on  the 
back  of  one,  a  seed-pod  lying  against  the  breast  of  the 
other.  Rich,  deep-toned  malachite  with  brilliant  polish, 
traversed  by  an  effective  vein  of  white  quartz.  Ducks  in 
the  round,  the  lotus  in  high  relief  and  free  undercutting. 

Height,  4>I/i  inches;  length,  6  inches. 

146 —  Jade  Vase  with  Cover  ( Ch’ien-lung ) 

The  vase  oviform,  substantially  a  gallipot,  with  a  cylin¬ 
drical  cover  topped  by  a  lantern,  or  tall  knob  finial 
bracket  with  scrolls.  Crawling  about  its  sides  are  five 
mang  or  land  dragons,  in  high  relief  and  undercut,  and 
at  one  side  of  the  base  another  animal-grotesque  springs 
forth,  with  wings  embracing  a  small  vase  formed  in  two 
parts.  Fine  yellow  jade  of  delicate  tone,  with  softly 
brilliant  polish. 

Height,  6%  inches. 

147 —  Jade  Ornament 

Grayish-yellow  jade  with  greenish  translucence  and  soft 
polish,  carved  as  a  pair  of  billing  ducks  in  a  lotus  pond. 
Teakwood  stand  carved  in  openwork  in  wave  motive. 

Length,  7  inches. 


148 — Rock  Crystal  Wine  Ewer 

In  egg-plant  form,  slightly  flattened,  on  a  low  oval  foot 
above  which  is  carved  a  border  of  conventional  petal 
form.  A  land  dragon  undercut  on  the  back  forms  a 
handle,  and  the  curve  of  the  egg-plant  neck,  truncated, 
supplies  spout  and  mouth  at  once,  which  is  capped  by  a 
dome  cover  that  attaches  to  the  body  by  a  chain  of  nine 
crystal  links,  a  tenth  link  having  been  replaced  by  a 
metal  ring. 


Height,  7%  inches. 


First  Afternoon 


149 — Pair  Fei-ts’ui  Jade  Bird  Statuettes 

Two  parrots,  each  standing  on  a  small  mass  of  rockery, 
the  birds’  wings  finely  carved  in  relief,  and  the  tail  feath¬ 
ers  sharply  carved  as  they  curl  down  to  the  rock.  At 
the  base  of  the  rock  the  sacred  fungus  grows,  its  branches 
carved  free  and  rising  above  the  rock,  and  each  bird  is 
poised  on  one  foot,  the  other  foot — in  one  case  the  right 
and  in  the  other  the  left  foot — being  raised  and  extended, 
grasping  the  fungus-top.  Fine  translucent  fei-ts’ui  jade, 
the  emerald  markings  delicately  varied,  and  all  surfaces 
brilliantly  polished. 


Height,  7*4  inches. 


First  Afternoon 


150- — Jade  Ornament 

A  cliff-like  irregular  slab  or  block  of  fine  white  jade  with 
a  delicate  greenish  translucence,  the  obverse  carved  as  a 
grotto  with  Daruma  seated  there  under  a  pine  tree,  a 
bundle  of  books  beside  him.  The  cliff  overhead  carries 
a  long  incised  inscription  dwelling  upon  bis  long  medi¬ 
tative  vigil  upon  the  rock. 

Height,  7%  inches. 


151— Malachite  Ornament 

Light  green  malachite  left  largely  in  its  natural  forma¬ 
tion,  in  form  of  a  broad  tray  of  irregular  outline  with 
a  natural  handle,  portions  of  the  surface  being  polished, 
and  carved  in  low  relief  with  a  peony,  a  periwinkle  and 
a  crab.  Elaborately  carved  teakwood  stand  in  two 
sections. 


Length,  9  inches. 


First  Afternoon 


15*2 — Jade  Sculpture 

Statuette  of  Buddha,  standing,  holding  on  his  right  arm 
a  stem  of  the  sacred  fungus  and  in  his  left  hand  a  figure 
of  an  infant  Buddha  ensconced  within  a  lotus  flower; 
carved  of  white  jade  with  snow-flake  fleckings,  brightly 
polished.  Posed  on  a  thalamus  of  lotus  petals  in  gray 
jade,  above  a  base  carved  with  a  conventional  border. 

Height,  7%  inches. 

( Illustrated ) 


153 — Jade  Figure  Group 

Sinuous  female  figure  in  clinging  and  flowing  robes,  ac¬ 
companied  by  a  boy  attendant  who  holds  a  fungus  branch 
and  a  peach  of  longevity,  standing  on  openwork  rockery 
on  an  upper  ledge  of  which  is  a  lion  carved  in  the  round. 
Pure  white  translucent  jade  brilliantly  polished. 

Height,  8*4  inches. 

( Illustrated ) 


151 — Jade  Statuette 

Buddhistic  female  figure,  standing  with  right  arm  droop¬ 
ing  at  side,  and  left  elbow  lightly  flexed,  the  second 
finger  of  the  left  hand  brought  up  to  meet  the  thumb; 
drapery  and  ornaments  carved  in  relief.  Gray-white 
jade  of  waxen  surface,  and  soft  polish.  Teakwood  stand 
and  tall  conventional  halo,  carved  in  openwork. 

Height  of  figure,  6 y2  inches:  stand,  9y4  inches. 


( Illustrated ) 


153  151  132 


>rl 


First  Afternoon 


1.5.5 — Fei-tsTi  Jade  Group 


155 


Ivuan-yin  standing  on  rock¬ 
ery?  lidding  an  infant  in  her 
arms,  with  a  boy  attendant 
standing  in  an  attitude  of 
adoration  at  her  feet.  The 
sacred  fungus  and  an  orna¬ 
mental  banana  tree  are 
worked  in  relief  and  under¬ 
cutting  at  her  either  hand. 
Translucent  fei-ts’ui  jade 
of  delicate  emerald  tones, 
brilliantly  polished.  Has 
stand. 

Height,  8%  inches. 

— Green  Jade  Bowl 

Broad  inverted  bell  shape 
with  lightly  flaring  lip;  low, 
spreading  foot.  Sonorous 
jade,  with  the  pure  tone  of 
a  bell ;  translucent.  Its 
color  is  that  of  rich  dark 
green  moss,  mottling  a  soft 
vaporous  gray.  Smooth, 
unctuous  polish. 

Diameter,  8 y2  inches. 


1-57 — Malachite  Vase  with  Cover 

Rich  dark  green  malachite  brightly  polished.  Vase  of 
ovoid  jar  shape  with  dome  cover,  the  vase  resting  on 
rockery  and  embraced  within  the  branches  of  the  wild 
prunus  tree  in  blossom,  with  three  birds  perched  in  dif¬ 
ferent  postures.  Birds  and  trees  stand  largely  free  of 
the  vase,  in  bold  undercutting,  and  the  cover  is  sur¬ 
mounted  by  a  bird  holding  a  branch  of  buds,  similarly 
carved. 


Height,  8%  inches. 


First  Afternoon 


158 — White  Jade  Incense  Burner  with  Cover 


Kuan-yin  and  attendant, 
separate,  on  a  single  teak- 
wood  stand.  The  goddess 
is  standing,  barefoot,  in 
full  and  flowing  robes, 
with  jfi-i  coronet  and  high 
headdress,  over  which  folds 
the  cowl.  Her  left  hand, 
palm  upward,  lies  across 
her  right  wrist  and  holds 
a  scroll,  and  her  garments 
are  delicately  engraved 
with  foliated  scroll  borders  on  wave  grounds.  Her  at¬ 
tendant  stands  with  hands  clasped  in  front  of  him. 

Heights,  8%  inches  and  3%  inches. 


In  the  form  of  a  Fu-lion 
firmly  planted  on  all  fours, 
the  head  raised  and  thrown 
back,  with  mouth  open,  the 
entire  head  detachable  and 
forming  the  cover.  Trap¬ 
pings  in  relief  and  under¬ 
cut.  Brightly  polished. 


Height,  8 y2  inches. 


159 — Two  Soapstone  Stat¬ 
uettes 


160 — Pair  Chinese  Glass  Jardinieres  ( Cli'ien-lung ) 

Elongated  quatrefoil  shape,  with  deep  body  and  narrow 
expanding  lip  with  an  upward  curl;  molded  bottom,  with 
four  low  feet.  Translucent  glass,  a  deep  cerulean  with 
the  light  on  it,  a  fair  light  azure  seen  against  the  light. 

Length,  8%  inches. 


First  Afternoon 


1(51 — Quartz  Necklace 

String  of  ninety-eight  beads  of  clear  water-white  quartz, 
brightly  polished,  with  large  faceted  beads  of  sapphire- 
blue  glass,  and  silk  tassel  pendants. 


162 — Mandarin  Necklace 

Complete  string  of  one  hundred  and  eight  pink  coral 
beads,  carved  with  Shou  medallions  and  pierced  in  ten¬ 
dril  scrolls,  with  large  beads,  pendants  and  pendent 
strings  all  of  fei-ts’ui  jade. 


163 — Mandarin  Necklace 

Complete  string  of  one  hundred  and  eight  pink  coral 
beads,  carved  and  pierced  with  Shou  medallions  and 
tendril  scrolls,  with  large  beads  and  pendants  of  fei- 
ts'ui  jade,  and  pendent  strings  of  braided  beads  in  tur¬ 
quoise  carved  and  pierced. 


164- — Mandarin  Necklace 

Unusual  string,  the  whole  one  hundred  and  eight  beads 
of  white  jade,  carved  and  pierced  in  scroll  pattern;  large 
beads  of  turquoise,  pendants  of  aquamarine  and  tour¬ 
maline,  and  pendent  strings  of  pink  coral  beads  in  vermi¬ 
cular  scroll. 

( Illustrated ) 


165 — Mandarin  Necklace 

Rare  set  of  fine  fei-ts’ui  jade  beads  (one  hundred  and 
eight  of  them),  solid  and  brilliantly  polished,  with  inter¬ 
vening  large  beads  of  pink  tourmaline  or  Chinese  ruby, 
and  pendent  strings  of  solid  pink  coral  beads.  Pen¬ 
dants  of  fei-ts’ui  jade  and  the  Chinese  ruby,  in  filigree 
setting. 


No.  164— MANDARIN  NECKLACE 


First  Afternoon 


1(56 — Imperial  Jade  Buckle  (Sung) 

An  Emperor’s  belt  buckle,  perfect  and  complete,  in  yel¬ 
low  jade  with  a  delicate  greenish-yellow  translucence. 
It  consists  of  two  discs,  with  scrolled  loops  which  are 
united  by  a  freely-playing  ring,  all  carved  from  a  single 
piece  of  the  stone.  On  the  discs  are  wild  geese  in  the 
attitude  of  flight,  and  cloud  scrolls,  in  relief,  the  loops 
are  incised  with  scrolls,  and  the  ring  is  encircled  by  light 
incisions.  Soft,  unctuous  surface  of  dull  lustre.  A  rare 
object. 

Length,  8%  inches. 


167 — Antique  Korean  Hairpin 

Silver  and  silver  gilt,  with  a  lightly  engraved  lotus  petal 
border,  and  at  the  head  a  cloisonne  enamel  decoration 
of  floral  forms  in  lapis  and  turquoise  blue  and  auber¬ 
gine,  enclosing  a  carving  of  plum  blossom  and  rockery 
in  opaque  yellow  amber. 


Length,  9  inches. 


First  Afternoon 


168 — Mandarin  Fan 

Palm-leaf  form.  Embroidered  with  dragons,  flowers  and 
symbols  in  colored  silks  and  gold  on  a  silk  brocade 
ground.  White  jade  handle  pierced  with  ideographic 
characters  signifying  joy,  and  surmounted  on  one  side 
by  a  boy  holding  up  a  peach,  and  on  the  other  by  a 
conventional  butterfly.  (Handle  rejoined  under  a  gold 
band.) 

Length,  15%  inches. 


169 — Collection  of  Seals 

Twelve  seals,  deep  oblong  blocks,  each  surmounted  by  a 
Fu-lion  as  handle;  one,  only,  incised  with  a  seal  device. 
Carved  of  black  and  white  and  fei-ts'ui  jade,  carnelian, 
amber,  soapstone,  rock  crystal  and  agate.  Carved  stand 
and  glass  case. 


170 —  Jade  Writing  Screen 

An  upright  oblong  tablet  of  white  jade,  the  obverse 
carved  in  bold  relief  with  a  spotted  stag  facing  a  rock 
peony,  beneath  a  pine  tree  whereon  a  stork  is  perched, 
the  carvings  being  in  a  layer  of  jade  of  yellowish-gray 
note.  Reverse  incised  with  a  bird  in  a  plum  tree,  and 
an  inscription  in  ten  characters.  Teakwood  stand. 

Height,  (5%  inches;  in  stand,  8%  inches. 

171 —  Two  Ornamental  Jade  Carvings 

Into  a  carved  teakwood  table-stand  with  foliated  top,  is 
set  a  tall  tablet  of  white  jade,  with  low  arched  top, 
pierced  in  the  design  of  a  four-clawed  dragon  amongst 
conventional  foliage,  this  tablet  standing  as  an  effective 
background  for  a  slender  statuette  of  Kuan-yin  carved 
in  fei-ts'ui  jade  of  delicate  emerald  tone  with  white  mark¬ 
ings,  brightly  polished. 

Height  of  statuette,  3%  inches;  of  tablet,  6 inches;  •with 
stand,  8  inches. 


First  Afternoon 


172 —  Lapis-lazuli  Statuette 

Seated  figure  of  the  Buddha,  in  attitude  of  meditation, 
with  hands  clasped  palms  upward  above  his  crossed  feet 
with  soles  upward,  the  hands  supporting  a  spherical 
jar.  Variegated  blue  and  gray  lapis,  with  myriad  minute 
fieckings  of  silvery  aspect;  soft  polish. 

Height,  8y4  inches. 

173 —  Rock  Crystal  Statuary"  Group 

Tall  standing  Buddhistic  figure,  in  robes  blown  to  one 
side  in  a  breeze,  holding  a  wide  scroll  and  accompanied 
bv  a  boy  attendant  with  hands  in  devotional  posture. 
Above  the  attendant’s  head  is  a  bird,  terminating  a 
streamer  leading  to  a  hand  of  the  larger  figure.  Highly 
polished,  and  the  internal  structure  exhibiting  large 
areas  of  brilliant  sunset  iridescence. 


Height,  9%  inches. 


First  Afternoon 


174 — Jade  Animal  Group 

A  sculpture  of  three  Fu-lions,  two  crouching  on  the 
ground  and  one  of  them  grasping  the  filleted  ball,  and 
the  third  lion  posed  on  the  backs  of  his  companions. 
A  very  interesting  statuary  group,  in  typical  Ming  carv¬ 
ing  but  probably  a  production  of  the  Ch'ien-lung  period. 
It  has  survived  a  fire,  which  accounts  for  the  peculiar 
aspect  of  the  stone,  now  a  gray-white  with  almost  matt 
surface,  with  here  and  there  a  faint  purplish-pink  flush 
and  varied  green  fleckings,  which  curiously  enough  have 
suggested  to  observers  the  “peachbloom”  effects  of  porce¬ 
lains  in  this  hard  flame-beaten  stone. 

Length,  inches. 


175 — Rare  Jade  Ornament 

A  natural  jade  pebble  from  the  river  bottom,  whose 
shape  suggested  to  the  Celestial  sculptor  that  it  be 
carved  as  one  of  the  fabulous  peaches  of  the  genii,  potent 
in  conferring  longevity.  Carved  in  relief  and  undercut¬ 
ting  about  it  are  its  stem  and  numerous  leaves,  and 
among  them  two  of  the  emblematic  bats  of  happiness, 
and  the  interior  of  the  peach  or  pebble  has  been  hollowed 
as  a  bowl  or  basket,  with  wide  mouth  crossed  by  a  bridge 
or  handle  of  intertwining  leaves.  Gray-white  jade  with 
a  greenish-gray  translucence,  and  areas  of  warm  reddish- 
brown  from  the  stains  of  ferrous  corrosion,  the  whole 
finished  with  a  softly  brilliant  polish.  Elaborately 
carved  teakwood  stand,  in  peach  motive  in  openwork. 

Length,  9  inches. 


First  Afternoon 


17(5 — Jade  Ornamental  Box  with  Cover 

The  figure  of  a  duck  standing  amid  lotus  plants,  with 
head  raised  holding  a  stem,  while  other  stems,  with  buds, 
leaves  and  seed-pod,  carved  in  relief  and  free,  entwine 
the  body,  which  is  split  horizontally  to  form  box  and 
cover.  Pure  white  translucent  jade  with  mirror  polish. 

Length,  8%  inches. 

177 —  Fei-ts'ui  Jade  Hanging  Vase  with  Cover 
Flattened  pear-shape,  with  high  dome  cover  also  flat¬ 
tened.  Two  scrolled  loop-handles,  connected  each  by  a 
chain  of  four  figure-8  links  to  a  bail  handle  having  two 
dragon-head  termini;  the  cover  is  swung  from  the  same 
bail  by  a  freely-playing  chain  of  seven  figure-8  links. 
Brilliant,  glowing  fei-ts'ui  jade;  vase  and  cover  finely 
carved  in  low  relief  with  animalistic  and  other  conven¬ 
tional  motives  after  ancient  bronze  designs.  Carved  and 
tinted  ivory  stand. 

Height  or  length  of  vase  with  chain  and  bail ,  6 y4  inches; 
height  of  stand,  9  inches. 

178 —  White  Jade  Plaque  ( Ch’ien-lung ) 

Shallow  ovoidal  cavetto  flaring  at  the  rim,  with  a  low, 
broad  foot.  Pure  white  translucent  jade  brightly  pol¬ 
ished.  Interior  finely  carved  in  delicate  relief  with  four 
ideographic  cartouches  about  a  composite  medallion  of 
interlacing  ju-i  sceptre-heads  and  a  stellate  figure  cent¬ 
ring  on  a  blossom.  Exterior  carved  with  a  border  in 
accord.  Soft,  bright  polish. 

Diameter,  9%  inches. 

179 —  White  Jade  Plaque  ( Ch’ien-lung ) 

Flaring  oviform  with  a  delicate  lip  and  low  foot.  Fine 
white  jade  of  grayish  trend,  with  a  pure  and  even  gray¬ 
ish-white  translucence  which  intensifies  to  a  delicate 
greenish  note  where  the  stone  thickens  in  the  foot.  Un¬ 
ornamented ;  softly  brilliant  polish  throughout. 

Diameter,  9%  inches. 


First  Afternoon 


180 — Pair  Jade  Table  Screen's 

White  jade  discs,  or  “full  moons,”  ornamented  in  re¬ 
lief  with  lotus  flowers  in  a  pond,  rocks,  birds,  and  peach 
and  pomegranate  trees  in  bearing,  in  green  jade,  tour¬ 
maline,  carnelian,  coral,  and  colored  stones,  applique. 
Carved  teakwood  stands. 


Diameter,  1 0y,  inches;  height  \ with  stand.  20y,  inches. 


First  Afternoon 


181 — White  Jade  Salver 

A  low  and  graceful,  perfectly  formed  dish  or  plaque,  its 
spreading  ovoidal  body  on  a  circular  foot  broad  and 
low.  Pure  white  jade  of  snowy  translucence,  the  trans¬ 
mitted  light  bringing  a  delicate  greenish  note  through 
the  foot,  carrying  a  soft  and  brilliant  polish  throughout. 

Diameter,  9yg  inches. 


182 — Carved  Ivory  Statuette  (Ming) 

Tall,  standing  female  figure  in  flowing  robes,  with  a 
streamer  carved  free  rising  from  her  shoulders  and  loop¬ 
ing  under  the  back  of  her  head,  holding  on  one  hand  a 
small  vase.  Front  surface  gray  and  weathered;  on  the 
back  a  rich,  soft  and  brilliant  mahogany  patina. 

Height,  10%  inches. 


183 — Jade  Table  Screen 

A  thin  slab  of  gray  and  white  translucent  jade,  roughly 
of  bell-shaped  outline,  carved  and  pierced  in  the  motive 
of  a  dragon  among  clouds,  pursuing  the  flaming  jewel, 
with  a  bat  overhead  and  high  aloft  a  figure,  which  may 
be  the  thunder  god.  Carved  teakwood  stand. 

Height,  7y3  inches;  with  stand,  12%  inches. 


181 — Chinese  Artificial  Garden 

A  plant  of  long  curling  leaves  carved  of  tortoise-shell, 
planted  in  a  gravel  of  chipped  coral  stems,  within  a 
cylindrical  jardiniere  lacquered  in  imitation  of  tortoise¬ 
shell.  Under  the  branching  leaves  a  sage  in  opaque 
amber  and  a  horse  in  fei-ts’ui  jade.  On  lacquer  table- 
stand  painted  with  butterflies,  bats  and  flowers. 

Height  (complete),  12%  inches. 


First  Afternoon 


185 — -Jade  Sculpture 


Image  of  the  Buddha  seated 
cross-legged  on  a  conventional 
lotus  throne,  fingers  interlaced 
palm  upward,  in  attitude  of 
meditation,  backed  by  a  tall 
halo  carved  and  pierced  with 
Buddhistic  emblems  of  happy 
augury,  the  whole  sculptured 
from  a  single  block  of  greenish 
gray-white  jade  brightly  pol¬ 
ished.  Height,  11%  inches. 


186 — Rock  Crystal  Vase  with 
Cover 

With  broad  faces  and  nar¬ 
row  flattened  ends  or  sides,  all 
of  ovoidal  contour,  expanding 
foot  and  contracting  neck, 
and  dome  cover.  Two  dragon¬ 
head  loop  and  loose-ring  han¬ 
dles.  Incised  lei-wen  borders 
on  lip  and  foot,  and  on  rim  of 
cover,  cover  surmounted  bv 
a  recumbent  lion.  Clear  crys¬ 
tal,  brightly  polished. 

Height,  12%  inches. 

187 — Soapstone  Statuette 


Standing  figure  of  Shou-lao,  holding  on  both  hands  in 
front  of  his  breast  a  very  large  peach  of  longevity.  He 
looks  with  a  genially  benignant  expression  across  his 
right  shoulder,  in  a  downward  direction.  His  voluminous 
garments  swing  lightly  in  a  breeze,  and  are  incised  with 
ideographs,  cloud  forms,  a  stork  medallion  and  plum 
blossom  borders,  and  he  stands  on  a  rock  base  carved  in 
relief  and  boldly  undercut  with  growths  of  the  sacred 
fungus.  Gray  soapstone  with  splotches  of  dull  red. 


Height,  14%  inches. 


First  Afternoon 


188 — Old  Chinese  Glass  Jardiniere  on  Marble  Pedestal 
Inverted  bell-shape  with  flat  foot  and  narrow  flat  rim. 
Colorless  transparent  glass,  light  in  weight,  with  the 
clear  soft  tone  of  a  gong.  White  marble  pedestal,  prob¬ 
ably  of  Ming  origin,  carved  as  a  lotus  blossom  sur¬ 
mounting  an  octagonal  column  supported  on  an  elabo¬ 
rate  base ;  both  column  and  base  incised  with  inscriptions. 


Diameter,  11  %  inches;  heic/ht  with  pedestal,  16%  inches. 


First  Afternoon 


189 — Green  Jade  Palace  Dish 

Deep  ovoidal  cavetto,  the  sides  foliated  in  eight  divi¬ 
sions,  expanding  lip  and  four  low  j,u-i  feet;  four  loop 
handles  of  fungus  branch  or  ju-i  sceptre  form,  with  loose 
rings.  At  the  bottom  of  the  cavetto  two  fish  dragons 
about  a  conventional  peony  medallion,  finely  and  boldly 
carved  in  high  relief.  Richly  mottled  translucent  dark 
green  jade  with  luminous  polish. 

Length,  l(i  inches. 


190 — Rock  Crystal  Wine  Ewer 

Body  low  and  broad,  in  inverted-pear  shape,  with  a 
heavy  loop  handle,  and  spout  in  the  form  of  a  phoenix- 
head  and  breast ;  flattened  shoulder,  and  small  mouth 
with  insetting  cover,  which  is  attached  by  a  chain  of 
seven  freely  playing  rings  to  the  handle.  Finely  exe¬ 
cuted  relief  carvings  in  peach,  pomegranate  and  Bud- 
dha’s-hand  citron  motives,  encircle  the  entire  exterior. 
Brilliant  polish,  and  interior  patches  of  gorgeous  sunset 
iridescence. 

Length,  9  inches. 


191 — Cinnabar  Lacquer  Stand  ( Ch'ien-lung ) 

A  circular  table  with  four  ju-i  legs  resting  on  a  cir¬ 
cular  base  which  has  four  low  feet.  Surface  incised  with 
a  swastika  lattice,  the  skirt  carved  with  a  lotus  scroll  in 
relief ;  various  borders. 


Diameter,  ll1/,  inches. 


First  Afternoon 


192 —  Cinnabar  Lacquer  Cake  Box  with  Cover  ( Ch’ien - 

lung) 

Foliated  contour,  in  five  broad  lobes.  Upper  surface 
carved  with  many  boys  at  play,  with  musical  instruments 
and  toys,  and  dragon,  lion  and  phoenix  effigies,  in  cavo- 
rilievo  on  an  incised  green  lattice  ground.  On  the  sides, 
similar  carving  in  the  cinnabar  lacquer,  on  similar 
ground,  within  foliated  panels  set  upon  a  ground  of 
delicate  olive  tone  carved  with  a  floral  lattice.  Interior 
in  gold. 

Diameter,  1 D/»  inches. 

193 —  Red  Lacquer  Decorated  Cake  Box  with  Cover 

{Ming) 

Double-gourd  shape.  Painted  in  polychrome  lacquers 
of  soft  tone  with  dragons  and  phoenixes,  peonies  and 
butterflies.  Length,  23  inches. 


SECOND  AFTERNOON’S  SALE 


WEDNESDAY,  JANUARY  23,  1918 

AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  2.30  O’CLOCK 

Catalogue  Nos.  197  to  380,  inclusive 


DECORATED  PORCELAIN 

197 — Decorated  Jar  (Ming) 

Oviform  with  embryonic  neck  and  wide  mouth.  Deco¬ 
rated  with  fruit  clusters  in  pale  yellow  and  deep  emer¬ 
ald  enamels,  and  rich  red,  on  a  ground  of  soft  white, below 
two  borders  executed  in  red.  Has  carved  teakwood  cover 
with  tourmaline  finial  in  fungus  form. 

Height ,  5%  inches. 


198 — Decorated  Shallow  Bowl  (Yung  Cheng) 

Ovoidal  with  low  foot.  Thin,  delicate  porcelain  with  a 
low  bell  tone,  the  exterior  invested  with  a  rich  coral 
glaze  of  peau-d' orange  surface  which  at  the  extremity 
of  the  foot  takes  a  rose-Du  Barry  note.  The  inner  sides 
of  the  cavetto  carry  lotus,  ju-i  and  trellis  borders,  in¬ 
tricately  executed  in  coral  and  gold  and  delicate  enamels, 
with  a  foliar  scroll  border  reserved  in  a  rose-Du  Barry 
ground,  about  a  bottom  medallion  picturing  a  male 
figure  and  small  attendant  beside  an  ass,  in  enamels  on 
a  white  ground. 


Diameter,  G '/,  inches. 


Second  Afternoon 


199-  K.MKiiALD-GiiEEx  Dragon  Dish  ( K’ang-hsi ) 

Circular,  with  ovoidal  contour  and  delicate  lip  lightly 
expanding,  and  low  foot.  Fine,  resonant  hard  paste 
white  porcelain  with  a  brilliant  white  glaze,  decorated 
with  imperial  dragons  in  emerald-green  enamel,  with  me¬ 
tallic  lustre,  one  in  the  interior  and  two  outside  the  rim, 
those  of  the  rim  coursing  over  waves  finely  incised  in  the 
paste  beneath  the  glaze.  Mark,  the  six  characters  of 
the  reign  within  a  double  ring,  in  brilliant  underglaze 
sapphire-blue. 

Diameter,  7  inches. 

200 —  Set  of  Three  Decorated  Small  Plaques  ( K'ang-lisi ) 
Fine  sonorous  porcelain  under  a  brilliant  glaze  of  pure 
soft  white,  adorned  on  the  exterior  of  the  cavetto  and 
in  a  medallion  within  with  five-clawed  dragons  amid  tur¬ 
bulent  waves,  the  dragons  penciled  in  glowing  sapphire- 
blue  over  a  rich  rouge-de-cuivre  sea.  Six-character 
mark  of  the  reign  within  a  blue  double  ring  on  each. 

Diameter,  7 y8  inches. 


201 — Decorated  Jar  (Sung) 

Zu-chao  ware.  Ovoid  body  with  a  deep  foot,  and  a  short 
straight  lij)  about  a  mouth  smaller  than  the  foot.  Heavy, 
dense  porcelain.  Exterior  coated  with  a  brilliant  creamy 
or  light  buff  glaze,  and  painted  on  one  face  with  an  ex¬ 
pansive  floral  design  in  dark  green  and  russet,  with  rings 
in  the  same  two  colors  encircling  shoulder  and  under¬ 
body.  Lip  glazed  in  a  soft  rich  black  which  extends 
down  the  interior.  Underneath  foot,  seal  mark  stamped 
in  relief  in  the  paste,  Ch'ien-tuo  men  tsao — Ch’ien-tuo 
of  the  Sung  dynasty,  his  period  A.D.  1165-1173 — a  rare 
example,  as  date  marks  of  the  Sung  do  not  often  appear. 

Heujht,  7%  inches. 


Second  Afternoon 


202 — Set  of  Four  Peony  Plates  (  Yung  Clicng ) 

Shallow  ovoidal  contour  with  low  foot.  Delicate  porce¬ 
lain  of  clear  bell  tone,  with  a  brilliant  glaze  of  soft 
creamy  white;  the  interior  decorated  in  delicate  rose- 
pink,  green  and  blue  enamels  and  warm  browns  with  a 
bird  perched  on  a  rambling  tree  trunk  overlooking  a 
large  peony  blossom  on  a  branch  which  displays  buds  at 
its  tip.  Six-character  mark  of  the  reign  in  brilliant 
underglaze  sapphire-blue. 

Diameter,  7%  inches. 


203 — Decorated  Plaque  ( K’ang-hsi ) 

Fine  and  delicate  hard  paste  white  porcelain  clothed  in 
a  luminous  white  glaze,  the  superior  surface  decorated 
with  imperial  dragons  amid  flames  and  clouds  in  copper- 
red,  the  dragons’  scales  being  penciled  in  gold,  about 
an  enameled  medallion  picturing  an  emerald  sea  with 
tossing  waves  in  white.  On  the  outer  side  of  the  plaque, 
fungus  branches  in  the  copper-red.  Mark  of  Cheng 
Hua  (apocryphal). 

Diameter,  7%  inches. 


20-1 — ^Rose-back  Plate  (  Yang  Cheng ) 

Thin,  delicate  porcelain  of  clear  bell  tone.  Shallow 
ovoidal  cavetto  with  flaring  marly,  on  low  foot.  Ex¬ 
terior  clothed  in  a  rich  rose-Du  Barry  glaze  of  delicate 
peau-d' orange  surface.  At  the  bottom  of  the  interior 
a  large  pendent-leaf  medallion  glazed  in  white  displays  a 
lady  accompanied  by  two  boys  amid  household  orna¬ 
ments,  in  enamel  colors  and  gold,  within  a  diapered 
ground  encircled  bv  a  narrow  lattice  border.  Broader 
borders  follow  in  rose  enamels,  with  variations. 


Diameter,  8y4  inches. 


Second  Afternoon 


205 — Rose-back  Plate  ( Cilia  Ch’ing ) 

The  back,  except  the  foot,  glazed  in  a  deep  rose-Du 
Harry  of  softly  glistening  peau-d' orange  surface.  In¬ 
terior  painted  with  young  women  and  small  boys  about 
a  table,  the  sides  of  the  cavetto  and  the  rim  with  trellis 
borders  interrupted  by  reserve  panels,  in  rose,  blue,  black 
and  green  enamels,  and  gilding.  Semi-eggshell  porcelain 
of  clear  note. 

Diameter,  8'/s  inches. 


206 — Decorated  Jar  (Ming) 

Ovoid,  with  short  straight  neck  and  wide  mouth.  Soft, 
luminous  enamel  glaze  of  pale  canary-yellow,  truite,  with 
two  imperial  dragons  reserved  in  rouge-de-cuivre,  among 
clouds  enameled  in  bluish-green  and  mauve.  Carved  wood 
cover,  pierced. 

Height,  8 14  inches. 


207 — Decorated  Plaque  (  Yung  Cheng) 

Thin  porcelain  in  a  brilliant  white  glaze,  decorated  in 
famille-rose  enamels  with  an  unconventional  young 
woman  reclining,  another  near  her  on  a  garden  bal¬ 
cony,  and  a  border  of  sprays. 

Diameter,  8%  inches. 


208 — Decorated  Jar  with  Original  Cover  (Ming) 

Ovoidal  with  flattened  shoulder,  short  neck  and  molded 
lip,  and  bold  broad  foot.  Mandarin  cover  with  small 
button  finial.  Band  occupying  the  whole  body  given  to 
a  rich  peony  scroll  through  which  three  Fu-lions  make 
their  way,  the  expansive  blossoms  in  warm  rouge-de- 
cuivre,  the  leaves  in  deep  emerald-green  enamel,  on  a 
white  ground,  and  the  lions  in  the  green  and  in  pale 
yellow  enamel,  with  details  in  the  copper  red.  Three 
borders. 


Height,  8%  inches. 


Second  Afternoon 


209 — Animal  Statuette  (Ming) 

Figure  of  a  Fu-lion  on  its  haunches,  with  head  raised 
and  mouth  open,  right  fore  foot  on  a  brocaded  ball  which 
is  pierced.  Glazed  in  a  brilliant,  dark  and  deep  ceru¬ 
lean,  with  details  in  turquoise-blue,  faint  touches  of 
yellow,  and  si  igbt  reservations  in  the  biscuit  veiled  by 
a  grayish  wash  glaze. 

Height,  8y2  inches. 


210 — Decorated  Ginger  Jar  with  Original  Cover  (Ming) 
Fine,  heavy,  sonorous  hard  paste  white  porcelain,  under 
a  brilliant  white  glaze  of  misty-mirror  surface,  the  sur¬ 
face  divided  into  two  broad  and  two  narrow  panels  bv 
continuous  bands  and  borders  of  rich  and  warm  rouge- 
de-cuivre  carrying  a  lotus  scroll  in  white  reserve  and 
touched  with  gold.  The  panels  are  painted  in  the  copper 
and  gold  and  in  green  enamel  with  a  fisherman  and 
sages,  lotus  plants  and  the  pine  and  plum  tree  and 
birds,  and  the  cover  is  decorated  in  accord. 

Height,  9%  inches. 


211— Pair  Decorated  Jardinieres  (Yung  Clieng) 

Quadrangular,  with  fiat  in-turned  lip,  and  tapering 
slightly  to  low  ju-i  feet.  Heavy  sonorous  white  porce¬ 
lain,  all  sides  decorated  with  figures  and  flowers  in  deli¬ 
cate  enamels  of  the  famille-rose.  On  tall  stands. 

Diameter,  7%  inches:  height  with  stand,  13%  inches. 


Second  Afternoon 


212- — Peacock-green  Decorated  Gallipot  (Sung) 

Luminous  glaze,  with  a  rnoistened-mirror  surface,  in  that 
variety  of  the  turquoise  glazes  which  is  denominated 
peacock-green  and  sometimes  peacock-blue,  with  a  pro¬ 
fuse  decoration  in  rich  black.  The  central  body  is 
occupied  by  three  foliated  medallions,  two  painted  with 
human  figures  and  one  with  a  stork,  below  is  a  band  of 
rich  floral  scroll,  and  on  the  shoulder  another  floral 
scroll  band  of  dissimilar  motive.  The  glaze  is  minutely 
truite. 


Height,  10%  inches. 


Second  Afternoon 


213 — Large  Decorated  Jar  (thing  Te) 

Broad  inverted  pear-shape  with  broad  Hat  foot.  (The 
short  neck  restored  in  metal,  engraved.)  Rich,  deep 
lapis-blue  glaze  of  soft  luminosity,  interrupted  by  a  lotus 
pond  in  flower  in  outline  relief,  the  outlines  filled  in  with 
emerald,  aubergine,  turquoise  and  yellow  enamels,  and 
bv  storks  and  heron  standing  and  flying,  modeled  in  low 
relief  and  glazed  in  creamy  white  and  yellow.  Ju-i  bor¬ 
ders  with  Buddhistic  emblems  on  shoulder,  and  a  deep 
conventional  border  at  base.  Underneath  foot  a  rich 
emerald-green  glaze  showing  a  brilliant  metallic  iri¬ 
descence,  with  an  aubergine  area  at  the  centre,  and 
under  the  glaze  the  six-character  mark  of  the  reign. 

Height,  12%  inches. 

Exhibited  on  loon  ol  the  Copley  Society  Exhibition,  Boston,  1911. 


Second  Afternoon 


214 — Tall-necked  Bottle-shaped  Vase  (Kfang-hsi) 

Large  spherical  body,  with 
slender  tubular  neck,  on  low 
foot.  Luminous  celadon  glaze 
of  pale  grayish  sea-green  of 
uniform  tone,  interrupted  by 
a  huge  four-clawed  dragon 
grasping  for  the  flaming 
jewel  among  clouds,  lightly 
carved  in  the  paste  and 
glazed  in  rich  peachbloom 
tones,  the  dragon’s  eyes  being 
touched  in  in  dark  blue. 

Height,  16%  inches. 

- D  ECORATED  JARDINIERE 

( Ch'ien-lung) 

Cylindrical,  slightly  expand¬ 
ing,  with  spreading  lip.  Ex¬ 
terior  enameled  in  a  delicate 
pale  canary-yellow,  inter¬ 
rupted  by  pine  trees  and  rock 
peonies  in  greens  and  pinks, 
with  tree  trunks  in  brown, 
and  plantains  with  stalks  reserved  in  white.  Lip  bordered 
with  bats  and  ideographs.  Under  the  foot,  imperial 
hall  mark  in  dark  vermilion:  T'i-ho  tien  chill  (made  at 
the  T’i-ho  hall).  On  tall,  table  stand. 

Diameter,  8%  inches;  height  -with  stand,  13%  inches. 

216 — Pair  Decorated  Jardinieres  (  Yung  Cheng ) 

Deep  quadrilateral  form  with  inward  turning  lip,  and 
indented  corners,  tapering  lightly  to  low  ju-i  feet.  Deco¬ 
rated  in  famille-rose  enamels,  each  with  four  horses  in 
different  postures,  perhaps  with  reference  to  the  tra¬ 
ditionally  famous  eight  horses  of  Mu  Wang.  On  high 
stands. 


214 


Height,  8 %  inches;  with  stand,  15%  inches. 


Second  Afternoon 


217 — Celadon  and  Sang-de-bceuf  Beaker-shaped  Vase 
( K’ang-hsi) 

An  important  piece.  Fine  hard  paste  white  porcelain 
of  clear  ringing  note.  The  entire  exterior  surface  orna¬ 
mented  with  a  rich  scroll  in  lotus  motive,  incised  and 
modeled  in  the  paste  beneath  a  brilliant  and  pure  celadon 
glaze,  and  beautifully  and  effectively  relieved  by  a  flow 
of  rich  peachbloom  and  ashes-of-roses  notes,  covering 
intervening  and  lightly  cut  out  grounds. 

Height,  17%  inches. 


Second  Afternoon 


218 — Japanese  Porcelain  Plaque 

Imari  ware.  Shallow,  flaring  ovoidal  form,  on  a  low, 
broad  foot.  Decorated  in  a  medallion  and  borders  with 
cherry  blossoms,  stags  and  a  bird,  in  underglaze  blue 
and  a  dark  overglaze  red,  and  gold  pencilings.  (Slightly 
cracked. ) 

Diameter,  10%  inches. 


BLUE  AND  WHITE  PORCELAIN 

219— B  lue  and  White  Rose  Jar  ( Ch’ien-lung ) 

Ovoid,  decorated  with  a  wide  band  of  chrysanthemum 
scroll  and  three  conventional  borders  in  dark  blue  on  a 
brilliant  white  ground.  Carved  wood  cover. 

Height,  4%  inches. 


220 —  Blue  and  White  Rose  Jar  ( Ch’ien-lung ) 

Ovoid,  glazed  in  a  soft  and  lustrous  milk-white,  and  pen¬ 
ciled  in  cobalt-blue  wash  and  darker  lines,  with  orna¬ 
ments  of  the  cultivated  household.  Carved  teakwood 
cover. 

Height,  4%  inches. 

221 —  Blue  and  White  Rose  Jar  (K’ang-hsi) 

Ovoid  with  small  mouth.  Decoration,  groups  of  prunus 
blossoms  in  cream-white  reserve  within  a  ground  of  glow¬ 
ing  sapphire-blue  in  the  cracking-ice  pattern.  Crenel- 
late  border  on  shoulder.  Wood  cover. 

Height,  5  inches. 


222— B  lue  and  White  Ginger  Jar  ( Ch’ien-lung ) 

Brilliant  creamy  white  glaze,  with  decoration  of  the 
fruits  of  the  abundances  in  variable  blue,  and  three  con¬ 
ventional  borders.  Carved  wood  cover. 


Height,  5%  inches. 


Second  Afternoon 


223 — Blue  and  White  Ginger  Jar  ( K'ang-hsi ) 

Below  a  crenellated  border  on  the  shoulder,  the  whole  sur¬ 
face  given  to  a  field  of  cracking  ice  in  brilliant  sapphire- 
blue,  sprinkled  with  large  groups  of  plum  blossoms  in 
white  reserve.  Carved  wood  openwork  cover. 

Height,  7  inches. 


224 — Blue  and  White  Bowl  ( K'ang-hsi ) 

Fine  hard  paste  white  porcelain  with  a  clear  bell  tone, 
modeled  in  ovoidal  form  with  delicate  lip  slightly  ex¬ 
panding  and  low  foot,  and  decorated  on  both  exterior 
and  interior  in  rich  blue  under  a  brilliant  white  glaze. 
The  decoration  throughout  is  in  lotus  motives,  showing 
blossoms  and  seed-pods  and  a  petal  border  highly  con¬ 
ventionalized.  Mark:  Ta  Ch’ing  K'ang-hsi  nien  chili. 

Diameter ,  7%  inches. 


225 — Blue  and  White  Ginger  Jar  ( K'ang-hsi ) 

Decorated  in  two  tones  of  blue  with  three  fire-breathing 
kylins  on  rocks  in  a  turbulent  sea,  on  a  ground  of  soft 
white. 

Height,  S  inches. 


226 — Blue  and  White  Ginger  Jar  ( K'ang-hsi ) 

Decoration,  the  so-called  “hawthorn  pattern”;  two  great 
trees  of  the  winter-blooming  wild  prunus,  in  luxuriant 
blossom,  depend  from  a  hatch  border  and  embrace  the 
entire  jar  in  their  flowery  arms,  the  trees  and  blossoms 
in  creamy-white  reserve  within  a  cracking-ice  ground  of 
brilliant,  pulsating  sapphire  blue.  Under  the  foot  the 
glaze  is  pricked  with  four  ideographic  characters  wish¬ 
ing  “Peace  throughout  the  world.”  Wooden  cover  carved 
in  openwork  in  the  same  prunus  motive. 


Height.  8:!<,  inches. 


Second  A  ft  cm  oo  n 


'I'll — Blue  and  White  Jar  (Ming) 

Ovoid  with  embryonic  neck  and  lightly  everted  lip. 
Stoneweight  porcelain,  with  a  luminous  glaze  of  soft 
white  over  a  highly  conventionalized  lotus  scroll  deco¬ 
ration  in  cobalt  blue,  varied  in  tone.  Petal  border  at 
base  and  foliar  scroll  border  on  neck. 

Height,  14 y2  inches. 

228 —  Blue  and  White  Bowl  (Ming) 

Deep  inverted  bell  shape  on  bold  foot,  the  expanding 
rim  festooned.  The  sides  are  modeledvin  conventionalized 
lotus  petal  forms.  At  the  bottom  of  the  interior  a  me¬ 
dallion  pictures  a  plum  tree  in  blossom  amongst  rockery 
and  reeds,  painted  in  dark  and  light  blue,  and  on  the 
inner  side  of  the  lip  a  trellis  border  is  interrupted  by 
panels  of  floral  sprays.  The  motive  of  the  interior  me¬ 
dallion  is  repeated  in  multiple  form  and  the  same  colors 
over  the  entire  exterior  of  the  bowl.  Under  the  foot, 
a  leaf  within  a  blue  double  ring. 

Height,  6%  inches;  diameter,  13 '/,  inches. 

229 —  Pair  Blue  and  White  Temple  Jars  with  Covers 

(K' ang-hsi) 

Oviform,  with  flat  foot  and  short  wide  neck,  and  original 
mandarin  covers.  Fine  hard  paste  sonorous  white  porce¬ 
lain,  with  a  luxuriant  lotus  scroll  decoration  in  rich,  deep 
sapphire  blue  under  a  brilliant  glaze  of  pure  white.  Cover 
in  the  same  motive;  button  finial  in  solid  blue.  (Cover 
rims  and  jar  lips  somewhat  chipped.) 

Height,  21  inches. 

230 —  B  lue  and  White  Fountain  (Cilia  Clung) 

Large  wide-spreading  ovoidal  bowl,  on  a  low,  broad  foot. 
The  bottom  of  the  interior  is  covered  by  a  medallion 
painted  with  imperial  dragons  amid  a  conventional  lotus 
scroll,  in  two  tones  of  cobalt  blue,  the  lotus  motive  con¬ 
tinues  in  the  border,  and  on  the  exterior  the  dragon 
motive  is  renewed,  interrupted  under  the  lip  by  a  panel 
inscribed:  Ta  Ming  Cilia  Citing  nien  chili. 

Diameter,  31  inches. 


Second  Afternoon 


SUNG  PORCELAIN  AND  HAN  POTTERY 

233 — Ting  Yao  Conical  Bowl  (Sung) 

Soft  creamy  glaze  finely  crackled.  Entire  interior  oc¬ 
cupied  by  a  lightly  modeled  and  closely  worked  scroll 
in  conventional  lotus  motive.  Metal  rim. 

Diameter,  6%  inches. 


234 — Ting  Yao  Small  Plate  (Sung) 

Shallow  ovoidal  form  on  low  foot.  Creamy  grayish 
glaze,  coating  on  the  interior  a  low  relief  decoration 
of  lotus  and  plum  blossom  design  about  a  fish  medallion. 
Metal  rim. 

Diameter,  G%  inches. 


235 — Pair  Ting  Yao  Dishes  (Sung) 

Shallow  ovoidal  form  spreading  from  a  very  low  foot. 
Hard  porcelain  of  clear  bell  tone.  Superior  surface 
modeled  in  low  relief  with  a  conventional  floral  hand 
around  a  similar  floral  medallion,  under  a  lei-wen  border 
below  the  lip.  Creamy-gray  glaze  of  unctuous  lustre. 
(Chip  out  of  rim  of  one.) 

Diameter,  7  inches. 


236 — Ting  Yao  Deep  Bowl  (Sung) 

Lightly  molded  lip;  low  foot.  Without  decoration. 
Luminous  creamy  glaze  of  grayish  note,  with  a  slight 
greenish  tendency  where  the  flow  thickens. 

Diameter,  7 >/g  inches. 


237 — Ting  Yao  Dish  (Sung) 

Circular  ovoidal  form  with  low  foot;  metal  rim.  In¬ 
terior  divided  by  light  ridges  into  six  panels  or  petals, 
around  a  medallion  incised  with  two  fishes  swimming 
among  waves.  Grayish  creamy  glaze. 

Diameter,  7%  inches. 


Second  Aftc  'moon 


238 — Pair  Ting  Yao  Circular  Dishes  (Sting) 

Shallow  ovoidal  form  on  low  foot,  the  bodies  shaped 
lightly  as  broad  cups  of  lotus  flowers,  with  foliated  rims 
metal-capped,  and  the  bottom  of  the  interior  of  each 
incised  with  a  lotus  blossom  in  highly  conventional  form. 
Grayish-creamy  glaze. 

Diameter,  7%  inches. 


239 — Ting  Yao  Circular  Dish  (Sung) 

Shallow  ovoidal  form  with  broad  bottom,  on  low  foot. 
Interior  decorated  in  light  relief  with  a  large  medal¬ 
lion  in  which  two  phoenixes  appear  amidst  a  floral  scroll, 
on  the  bottom,  the  sides  being  traversed  by  a  further 
floral  scroll,  between  narrow  borders  of  kev-fret.  Metal 
rim.  (Small  chip  out  of  foot.) 

Diameter ,  8  inches. 


240 — Ting  Yao  Bowl  (Sung) 

Deep,  the  expanding  sides  of  slight  curvature,  on  a  low 
foot;  metal-capped  rim.  Light  ridges  define  six  petals 
in  the  interior,  radiating  from  a  small  floral  medallion 
modeled  at  the  bottom.  Lustrous  creamy-gray  glaze. 

Diameter,  8 y4  inches. 


241 — Ting  Yao  Bowl  (Sung) 

Expanding  in  conical  form  from  a  low  foot.  Exterior 
plain,  with  an  ivory  glaze  of  soft  lustre,  delicately 
crackled ;  in  the  interior  the  glaze  takes  a  more  pro¬ 
nouncedly  creamy  tone,  over  a  luxuriant  lotus  ornamen¬ 
tation  in  light  relief.  Rim  left  exposed  in  the  biscuit. 


Diameter,  8%  inches. 


Second  Afternoon 


242 — Ting  Yao  Bowl  (Sung) 

Deep  and  broad  ovoidal  form  with  low  foot.  Interior 
shows  a  primitively  modeled  and  indistinct  floral  deco¬ 
ration  all  around,  and  an  incised  border  below  the  rim, 
beneath  a  rich  and  brilliant  cream  glaze  boldly  crackled 
in  cafe-au-lait  lines  and  in  self-color.  Rim  metal-capped. 

Diameter,  9%  inches. 


243 —  Double-gourd  Shape  Vase  (Sung) 

All-over  incised  decoration  of  rich  lotus  scroll,  and  key- 
fret  borders,  under  a  cream  glaze  of  lustrous  surface. 
(Restorations  over  small  areas.) 

Height,  9 y„  inches. 

244 —  Iridescent  Pottery  Vase  (Han) 

Body  of  inverted  pear-shape  springing  from  a  bold  foot, 
with  rounding  shoulder,  and  broad  incurvate  neck,  the 
slightly  expanding  lip  being  marked  by  a  light  molding. 
Around  the  shoulder,  between  double  moldings,  a  band 
picturing  in  bold  relief  a  dragon  and  other  animals,  in 
active  motion,  and  including  at  either  side  animal-head 
and  ring  handles  in  relief.  Rich  dark  green  glaze,  all 
but  entirely  covered  by  a  brilliant  silvery  iridescence 
and  grayish  earthy  incrustations. 

Height.  12yz  inches. 


245 — Iridescent  Vase  (Han) 

Ovoidal  body  on  a  very  deep,  broad  and  spreading  foot, 
with  steeply  sloping  shoulder,  broad  incurvate  neck  and 
expanding  lip  slightly  thickened.  Mid-body  and  shoulder 
encircled  by  molded  rings.  Rich  green  glaze  all  but  wholly 
obscured  by  a  bright  iridescence,  blue  and  silver,  and 
lightly  coated  with  a  grayish  earthy  incrustation.  On 
the  lip  three  spurs  which  supported  the  next  piece  on 
top  during  the  baking  in  the  kiln. 


Height,  15  inches. 


Second  Afternoon 


246 — Six-sided  Vase  (Sung) 

Pear-shape,  modified  in  that  the  two  sides  are  flat  and 
the  obverse  and  reverse  divided  by  median  lines  into 
two  lobes ;  spreading  hexagonal  foot.  On  the  neck  two 
deep  rectilinear  handles.  Obverse  and  reverse  decorated 
with  four-clawed  dragons  among  clouds,  modeled  in  low 
relief;  fret  borders  at  lip  and  foot.  Brilliant  cream 
glaze  of  grayish  trend,  boldly  crackled  in  self-color  and 
cafe-au-lait.  (Foot  slightly  chipped.) 


Height,  13%  inches. 


Second  Afternoon 


SINGLE-COLOR  SPECIMENS 

247 — Porcelain  Ornament  ( K’ang-hsi ) 

In  the  form  of  a  tomato  glazed  in  a  soft  and  rich  coral 
red  of  soft  lustre,  with  stem-butt  in  lettuce-green  and 
short  stem  supplied  in  lacquer.  Carved  teakwood  open¬ 
work  stand. 

Diameter,  3%  inches. 


248 — Crackled  Jar  (Ming) 

Cauldron-shaped  with  molded  lip,  on  a  broad  flanged 
foot;  two  animalistic  loop  handles  with  drops;  after  the 
form  of  ancient  bronze  sacrificial  vessels.  Cream  glaze 
with  a  dull,  soft,  unctuous  lustre,  and  a  bold  and  variable 
crackle  in  light  cafe-au-lait  lines.  Wood  cover  with  soap¬ 
stone  finial  in  fungus  form. 

Height,  4%  inches. 


249 — Ovoidal  Bowl  (Ming) 

With  two  archaic  dragon-head  loop  handles  with  drops; 
low  foot.  Baked  foot  upward  and  the  rim  capped  with 
metal.  Brilliant  mirror  glaze  of  greenish  creamy  white, 
with  a  bold  and  varied  cafe-au-lait  crackle,  the  glaze 
taking  a  pale  greenish-celadon  tint  where  it  thickens 
about  the  foot  and  the  edges  of  a  sunken  medallion  in 
the  interior. 

Diameter,  7%  inches. 


250 — Old  Chinese  Glass  Jardiniere 

Ovoid  with  low  foot,  and  narrow  spreading  rim  slightly 
up-curving.  Heavy  glass  of  fine  quality,  transparent 
hut  not  clear.  Has  an  incised  Ch’ien-lung  seal  mark. 
Carved  teakwood  table-stand. 


Diameter,  7%  inches. 


Second  Afternoon 


251 — Clair-de-lune  Rose  Jar  with  Original  Cover  ( Yung 
Cheng) 

Inverted  pear  form  with  broad  foot  and  small  mouth  with 
straight  lip;  the  cover  cap-shaped.  Pure  and  even 
clair-de-lune  glaze  of  uniform  tone,  an  atmospheric  gray 
with  faintest  greenish  tinge,  with  a  surface  of  veiled- 
mirror  brilliancy.  Six-character  mark  of  the  reign  in 
deep  underglaze  blue  within  a  blue  double  ring. 

Height,  5%  inches. 


252 — Cream-glazed  Statuette  {Ming) 

The  ample-bodied,  merry-faced  Hotei,  seated,  with  glance 
directed  in  front  of  him  and  toward  his  left,  right  hand 
resting  on  his  raised  right  knee,  and  left  leg  folded  flat. 
Brilliant  creamy  glaze  finely  crackled,  with  cafe-au-lait 
areas,  and  in  parts  a  soft  oleaginous  lustre. 

Height,  61/,  inches. 


Second  Afternoon 


253 — Fuchiex  Statuette 

The  “Thousand  Armed  Kuan-yin,”  seated  cross-legged 
on  a  lotus  throne,  with  hands  clasped  before  her  breast 
and  second  fingers  steepled,  all  the  other  hands  holding 
symbols.  Brilliant  monochrome  glaze  of  pure  white. 

Height,  714  inches. 


254 — Crackled  Tripod  Jar  {Ming) 

Cylindrical,  on  three  low  hip  feet;  boldly  molded  lip,  with 
a  light  ring  molding  encircling  the  jar  just  below  it. 
Very  brilliant  soft  cream  glaze  of  unctuous  luminosity, 
with  areas  of  deep  cafe-au-loit,  and  the  whole  closely 
crackled.  Teakwood  cover  carved  in  openwork,  with  fei- 
ts'ni  jade  handle. 


Diameter,  7 ■/>,  inches. 


Second  Afternoon 


255 — F  u  chi  ex  Dragon  Bottle  (Ming) 

Cylindrical  body  very  slightly  incurvate,  with  high  and 
narrow  shoulder,  and  tapering  neck  expanding  again 
to  a  flange  lip.  Sole  decoration,  a  dragon  in  bold  relief 
encircling  the  neck.  Monochrome  glaze  of  a  grayish 
creamy  white  with  lustrous  surface. 


Height,  8 y4  inches. 


Second  Afternoon 


256 —  Fuchien  Beaker-shaped  Vase  {Ming) 

Mid-band  in  relief  lightly  incised  with  the  lei-wen,  and  the 
body  of  the  beaker  above  and  below  encircled  bv  low 
moldings;  below  the  lowest  molding  a  leaf  border  in 
relief,  and  the  upper,  trumpet  section  of  the  beaker 
plain.  Monochrome  glaze  of  rich  cream  tone,  softly 
brilliant.  Running  vertically  of  the  mid-band,  four  an¬ 
gular  ridges,  pierced  in  T-fret  design. 

Height,  8 y8  inches. 

257 —  Canary-yellow  Jar  ( K'ang-lisi ) 

Inverted  pear-shape  with  flat  foot  and  short  upright 
lip,  around  a  wide  mouth.  Brilliant  monochrome  glaze 
of  a  pure  and  fine  canary-yellow,  with  mirror  properties, 
a  subtle  metallic  lustre,  and  a  delicate  crackle.  Carved 
wood  cover  and  stand. 

Height,  7%  inches. 


Second  Afternoon 


258—  — Turquoise-blue  Tray  ( Ch'ien-lung ) 

Fashioned  as  the  half  of  a  peach,  flattened  out  and  shal¬ 
low,  with  the  stem  and  leaves  in  relief  forming  a  handle. 
Underneath,  five  bats  in  relief,  wishes  of  happiness.  Bril¬ 
liant  glaze  of  rich  and  fine  turquoise-blue,  truite,  cover¬ 
ing  all  surfaces.  Teakwood  stand  elaborately  carved  in 

O  *• 

fungus  motive. 

Diameter,  8  inches. 

259 —  C’amellia-leaf  Green  Amphora  ( K'cing-lisi ) 
Monochrome  glaze  with  a  brilliant  mirror  surface,  in  rich 
camellia-leaf  green,  uniform  in  tone  and  carrying  a 
minute  crackle  in  delicate  lines.  The  glaze  continues  in 
the  interior  of  the  neck  and  underneath  the  foot. 

Height,  9  inches. 

260 —  Peachbloom  Bottle-shaped  Vase  ( Cli'ien-lung ) 

Pear  form  with  slightly  tapering  neck  and  low  spreading 
foot.  A  softly  luminous  glaze  of  pure  and  even  peach- 
bloom  pink,  covering  neck  and  upper  body,  changes  in 
hue  on  the  underbody  to  the  soft  notes  of  ashes-of-roses, 
and  comes  to  a  perfect  finish  at  the  foot.  (Small  chip 
out  of  lip,  chiefly  on  inner  side.) 

Height,  9  inches. 

261 —  Statuette  of  Kuan -yin  {Ming) 

The  goddess  is  seated  enveloped  in  her  draperies,  with 
hands  concealed  and  head  slightly  inclined,  wearing  the 
cowl,  and  a  ju-i  symbol  appearing  in  relief  on  her  bared 
breast.  Luminous  glaze  of  gravish-cream  tone,  with 
cafe-au-lait  areas,  a  minute  crackle,  and  a  bolder  ram¬ 
bling  crackle  in  darker  lines. 

Height,  9y4  inches. 

262 —  Pair  Fu  Ornaments  {Ming) 

Fu-lions  seated  on  their  haunches  on  oblong  pedestals, 
one  with  left  fore  paw  on  a  cub  rolling  on  its  back, 
the  other  with  right  fore  paw  on  the  brocaded  ball. 
Glazed  in  a  pale  and  fine  emerald-green.  (Tails  broken; 
Chinese  restorations  on  pedestal  plinths  and  at  base  of 
animals’  bodies.)  Height,  9  inches. 


Second  Afternoon 


263 — Fuchien  Statuary  Group 

The  goddess  of  mercy  on  a  throne  of  rockery,  seated, 
with  two  attendants  standing  at  her  feet,  and  at  her 
either  side  a  vase  and  a  bird,  poised  respectively  on  pede¬ 
stals  of  rockery.  Brilliant  glaze  of  creamy  white. 

Height,  9%  inches. 


264 — Sang-de-bceuf  Gallipot  ( Ch'ien-lung ) 

Brilliant  mirror  glaze,  which  covers  also  the  interior  of 
the  neck,  in  rich  tones  of  the  flowing  blood,  dripping 
with  copious  “tears”  of  coagulation.  Faint  crackle  and 
lightly  indicated  orange-peel  surface.  Height,  9%  inches. 


Second  Afternoon 


265 — Fixe  Yellow  Jar  ( K’ang-hsi ) 

Inverted  pear-shape  with  low  foot,  and  short  neck  with 
lightly  molded  lip.  Heavy,  resonant  porcelain  of  fine 
quality,  the  exterior  clothed  in  a  perfect  glaze  of  bril¬ 
liant  canary-yellow,  even  in  tone,  with  a  delicate  metallic 
lustre  and  mirror  properties.  Interior  in  white.  Six- 
character  mark  in  rich  underglaze  blue  under  the  foot. 

Height,  9%  inches. 


Second  Afternoon 


266 —  Brown  Gallipot  ( Ch’ien-lung ) 

Brilliant  monochrome  mirror  glaze  of  delicate  liver  color, 
flowing  to  a  perfect  foot ;  lip  white. 

Height,  10%  inches. 

267 —  Bottle-shaped  Vase  (  Yung  Cheng ) 

Pear  form,  on  a  broad  and  bold  foot,  with  full  neck 
and  trumpet  lip.  Luminous  monochrome  glaze  in  the 
bluish-green  of  the  young  bamboo  shoots,  with  mirror 
properties;  fishroe  crackle.  Lip  and  throat  in  a  me¬ 
tallic  black. 

Height,  10%  inches. 

268 —  Cream  Crackled  Jar  (Ming) 

Inverted  pear-shape  with  broad  flat  foot,  and  short 
straight  lip  around  a  wide  mouth.  Invested  with  a 
luminous  glaze  of  unctuous  surface,  in  cream  tone  with 
cafe-au-lait  shadings  and  pinkish-russet  flushes,  finely 
crackled  throughout. 

Height,  10%  inches. 

269 —  Quadrilateral  Vase  ( Ch’ien-lung ) 

High  quadrangular  body  on  a  broad  circular  retired 
foot,  with  a  short  circular  upright  lip  about  a  mouth 
smaller  than  the  foot ;  flat  shoulder  and  bottom.  Below 
the  shoulder,  two  elephant-head  and  ring  handles  in  bold 
relief.  Invested  with  a  luminous  glaze  of  rich  lapis- 
lazuli  blue,  having  a  delicately  marked  peau-d’orange 
surface.  Seal  mark  of  the  reign.  Carved  and  pierced 
teakwood  stand. 

Height,  11%  inches. 

270 —  Sang-de-bieuf  Bottle  ( Ch’ien-lung ) 

Globular-ovoidal  with  full  neck.  Rich  glaze  with  misty 
surface  and  minute  peau-d’ orange  markings,  and  show¬ 
ing  a  vertical  crackle,  a  glaze  apparently  intended  to  be 
a  sang-de-boeuf  but  through  alteration  in  the  firing  turn¬ 
ing  to  rich  reddish-mahogany  notes,  with  peachbloom 
tones  appearing  near  the  foot. 

Height,  12  inches. 

From  Dr.  Bush  ell’s  Collection,  Peking. 


Second  Afternoon 


271 —  Mirror-black  Bottle  ( K’ang-hsi ) 

Spherical,  with  tall  and  slender  tubular  neck,  slightly 
tapering  from  the  root.  Brilliant  glaze  of  pure  mirror- 
black. 

Height,  16 %  inches. 

272 —  Sang-de-bieuf  Bottle  ( Ch'ien-lung ) 

Pear-shape  with  short  tapering  neck  and  broad  and  low 
heavy  foot.  Clothed  in  an  intensely  brilliant  mirror 
glaze  of  rich  blood-red  of  translucent  quality,  permitting 
a  clear  revelation  of  the  bold  underglaze  crackle,  which 
comes  out  into  free  view  in  cafc-au-lait  lines  within  the 
gray  glaze  that  encompasses  the  lip. 

Height,  12%  inches. 

Exhibited  on  loan  at  the  Copley  Society  Exhibition,  Boston,  1911. 


Second  Afternoon 


273 —  Powder-blue  Bottle  ( K'ang-hsi ) 

Spherical,  with  tall  and  slender  tapering  neck.  Fine 
glaze  in  rich  powder-blue,  of  mirror  brilliancy. 

Height,  17%  inches. 

Exhibited  on  loon  at  the  Co'/dey  Society  Exhibition.  Boston.  1911. 

274 —  Celadon  Plaque  (Ming) 

Stoneweight  porcelain  of  clear  bell  tone;  at  the  bottom 
of  the  deep  and  broad  cavetto  a  large  floral  design,  freely 
drawn  by  incision.  Brilliant  glaze  of  deep  grayish  sea- 
green.  (Short  crack  in  one  side,  in  no  way  affecting  the 
clarity  of  the  porcelain’s  tone.) 


Diameter ,  1(1%  inches. 


Second  Afternoon 


275 — Celadon  Fish  Bowl  (Ming) 

Somewhat  shallow  ovoidal  cavetto,  with  a  short  flaring 
marly  festooned  at  the  lip;  bold  foot.  Luminous  celadon 
glaze  of  bright  sea-green,  with  a  bluish  cast,  boldly 
crackled.  At  the  bottom,  three  fishes  in  swimming  atti¬ 
tudes,  reserved  in  the  biscuit,  in  relief. 

Diameter,  12 14  inches. 


276 — Cream  Crackled  Jar  (Ming) 

Elongated  ovoidal  form,  with  a  short  and  broad  straight 
foot,  and  a  short  lip  less  in  diameter  than  the  foot. 
Lustrous  creamy  glaze  blending  into  cafe-au-lait  tones 
through  its  fine  close  crackle,  and  showing  varied  cir- 
cumambulatory  lines  of  broader  crackle. 

Height,  12%  inches. 


277 — Slate-blue  Vase  (  Ch’ien-lung) 

Large  flattened  pear-shape  with  spreading  oval  foot, 
molded  lip,  and  two  moldings  about  the  neck,  with  tu¬ 
bular  handles  running  between  them  at  either  side.  In¬ 
vested  both  exteriorly  and  interiorly  and  underneath  the 
foot  with  a  monochrome  glaze  of  slate-blue,  brilliant  and 
fine.  The  form  is  that  of  an  ancient  bronze. 

Height,  14%  inches. 


278 — Fuchien  Statuette  (Ming) 

The  goddess  Kuan-yin  standing  on  a  rock  base,  one  bare 
foot  projecting  from  her  flowing  robes,  necklace  in  re¬ 
lief  crossing  her  breast ;  she  wears  high  headdress,  tiara 
and  cowl,  and  holds  a  scroll  in  her  extended  right  hand, 
on  the  wrist  of  which  her  left  hand  is  delicately  poised. 
Brilliant  monochrome  glaze  of  creamy  tone. 


Height,  14%  inches. 


Second  Afternoon 


279 — Statuette  of  a  Potentate  ( Ming) 

Seated  male  figure  of  dignified,  austere  aspect,  in  formal 
headdress  and  flowing  robes,  with  armor  exposed  across 
the  breast;  enthroned,  with  the  modeled  head  of  a  tiger 
skin  falling  between  the  spread  feet,  and  the  tail  of  the 
pelt  overhanging  the  back  of  the  seat.  Robe  incised  with 
a  three-clawed  dragon  among  clouds  above  waves.  Bril¬ 
liant  monochrome  creamy  glaze  of  grayish  tone.  (One 
streamer  of  headdress  restored.)  Height>  17%  {nches 


Second  Afternoon 


280 — Fuchiex  Statuette  {Ming) 

Standing  figure  of  Kuan-yin,  in  full  robes  and  with  cowl, 
tiara  and  necklace,  poised  upon  a  bank  of  conventional 
clouds,  one  bare  foot  projecting  from  her  robes.  Very 
brilliant  cream  glaze  of  grayish  tone.  The  hands,  droop¬ 
ing  and  extended  before  her,  have  been  replaced,  in  finely 
modeled  porcelain  left  unglazed. 


Heif/ht,  1914  inches. 


Second  Afternoon 


281 —  Pottery  Statuette  (Ming) 

Standing  male  figure  with  bulging  eyes  and  bulbous  nose 
and  long  Buddhistic  ears,  with  knotted  headdress  and 
girdled  robes,  both  hands  raised  in  front  of  the  left 
shoulder,  where  they  supported  some  object  that  has 
disappeared.  Glazed  in  a  rich  malachite-green,  warm 
flesh  tones  and  possibly  another  color,  the  greater  now 
covered  with  the  soft  and  mellow  frostings  of  decay.  On 
stand. 

Height,  18  inches. 

282 —  Tall  Oviform  Jar  (Ming) 

With  broad  fiat  foot,  and  embryonic  lip  about  a  rela¬ 
tively  small  mouth.  Brilliant  mirror  glaze  of  delicate 
cream  tone,  finely  crackled  throughout,  and  showing  on 
the  shoulder  a  sporadic  broader  crackle  of  brownish 
note. 

Height,  18%  inches. 


283 — Tall  Flambe  Bottle  (Ch’ien-lung) 

Pear-shape  with  short  full  neck  and  deep  heavy  foot. 
Rich  splash  glaze  with  brilliant  mirror  surface,  display¬ 
ing  fine  full-toned  purples,  soft  gray-blue  and  delicate 
grayish-greens,  and  notes  of  tan,  over  a  soft  gray,  and 
the  whole  closely  crackled.  Underneath  the  foot,  the  seal 
mark  of  the  reign,  incised  beneath  a  heavy  gray  glaze 
with  russet  and  mahogany  markings. 

Height,  18%  inches. 


284 — Celadon  Plaque  (Ming) 

Clear,  sonorous  porcelain  of  the  stoneweight  variety, 
with  the  soft  tone  of  a  gong  when  struck,  clothed  in  a 
fine  grayish  sea-green  glaze  of  great  brilliancy.  Broad 
and  shallow,  on  a  low  retired  foot,  the  flaring  sides  mod¬ 
eled  as  twelve  angular  conventional  petals.  These  are 
adorned  on  both  exterior  and  interior  with  floral  forms 
incised  and  modeled  in  the  paste;  on  the  interior  the 
petals  carry  incised  fret  borders  near  the  lip,  and  on  the 
exterior  the  underbody  has  a  pointed-petal  border  mod- 


Second  Afternoon 


clod  in  relief.  The  bottom  of  the  cavetto  is  modeled  by  in¬ 
cision  in  a  brocade  pattern,  and  here  the  glaze  is  inter¬ 
rupted  by  three  fishes  reserved  in  biscuit  relief  and  coated 
with  a  matt  brown  glaze. 

Diameter,  18  inches. 

285 — Celadon  Plaque  {Ming) 

Resonant  stoneweight  porcelain;  broad,  shallow  cavetto; 
low  foot.  Sides  of  the  cavetto  occupied  by  a  sweeping 
scroll  of  foliar  design,  and  the  bottom  by  a  lotus  group, 
boldly  drawn  by  free  incision,  beneath  a  brilliant  celadon 
glaze  of  rich  hue  and  translucent  depths. 

Diameter,  18%  inches. 


286—  Tall  Celadon  Vase  ( Ming ) 

Ovoid  body  with  a  heavily  molded  and  spreading  foot, 
and  trumpet  neck.  The  neck  is  occupied  by  a  deep  band 
of  the  leaves  of  the  ornamental  banana,  incised,  below 
a  series  of  rings  that  encircle  it  all  the  way  to  the  lip. 
A  correspondingly  deep  reed  border  appears  above  the 
foot,  and  the  body  of  the  vase  is  circled  by  floral  bands 
incised  and  in  relief.  Brilliant  glaze  of  pure  grayish 
sea-green. 

Height,  26  inches. 

287 —  Celadon  Plaque  {Ming) 

Heavy  resonant  porcelain,  coated  in  a  smooth  and  even- 
toned  glaze  of  pure  sea-green  of  grayish  cast;  within  a 
broadly  defined  medallion  at  bottom  of  the  cavetto,  an 
incised  floral  device  freely  executed. 

Diameter ,  15%  inches. 

288 —  Celadon  Fish  Bowl  {Ming) 

Deep  inverted  bell-shape  with  heavily  molded  foot  and 
short  and  thick  flange  lip.  Surrounding  the  body  a  rich 
lotus  decoration  modeled  in  relief,  and  about  the  foot  a 
conventional  border.  Brilliant  celadon  glaze,  covering 
both  exterior  and  interior.  ( Broken,  near  the  bottom, 
and  repaired  with  heavy  clamps.) 

Height,  10%  inches;  diameter,  20%  inches. 


Second  Afternoon 


289 —  Tali,  Sang-de-bceuf  Vase  ( K'ang-lisi ) 

An  extraordinary  example,  and  one  of  the  tallest  pieces 
in  this  glaze  ever  seen  here.  Oviform,  or  inverted  pear- 
shape  with  high  bulbous  shoulder  and  wide  elongated 
lower  body  flaring  at  the  foot,  and  incurvate  neck  trun¬ 
cated  and  silver-capped.  Clad  in  a  remarkable  glaze 
of  mirror  brilliancy  in  the  richest  of  sang-de-baeuf  hues, 
a  true  successor  of  the  ancient  sacrificial  red,  with  glow¬ 
ing  ruby  tones,  and  areas  of  the  successive  peachblooms 
and  near  the  foot  low  reaches  of  peach-gray.  The  glaze 
shows  a  bold  crackle  throughout.  At  one  side  of  the 
shoulder,  through  an  accident  of  the  kiln,  there  is  an 
exposure  of  the  biscuit.  Carved  teakwood  stand. 

Heif/ht,  29%  inches. 

290 —  Green  Jardiniere  (Ming) 

Ovoid,  with  fiat  foot  and  fiat  lip.  Heavy,  thick  pottery. 
Exterior  coated  with  a  glaze  of  rich,  deep  melon-green, 
finely  crackled,  and  showing  a  brilliant  metallic  lustre, 
over  an  ornamentation  boldly  incised  in  a  highly  conven¬ 
tional  lotus  design.  On  table-stand. 

Diameter,  15  inches;  heif/ht  with  stand,  20  inches. 

291 —  Decorated  Wine  Jar  (Ming) 

Ovoid,  with  steep  shoulder  and  heavy  upright  lip.  Soft, 
lustrous,  creamy  glaze,  closely  crackled,  painted  in  a  rich 
dark  brown  with  quat refoils  of  conventional  chrysan¬ 
themum  sprays  within  a  diapered  ground,  wave  and 
cursive-scroll  borders,  and  larger  floral  decorations. 
Has  stand. 

Heif/ht,  18%  inches;  with  stand,  30%  inches. 

292 —  Lapis-blue  Fish  Bowl  (Ming) 

Shallow  cylindrical  form,  with  heavy  flange  lip  and  foot. 
Exterior  decorated  on  one  side  with  a  lotus  pond  in 
flower  in  high  relief,  and  on  the  other  side  with  a  double¬ 
gourd  bottle  and  a  ju-i  sceptre,  both  tied  with  fillets,  in¬ 
cised  and  glazed  in  a  rich  and  deep  lapis-lazuli  blue; 
interior  glazed  in  a  deep  striated  yellow.  On  carved  teak- 
wood  table-stajid,  inlaid  with  a  porcelain  medallion 
decorated  with  birds  on  a  blossoming  plum  tree. 

Diameter,  18%  inches:  heif/ht  with  stand.  25%  inches. 


Second  Afternoon 


293 — Fixe  Gray  Fish  Bowl  {Ming) 

In  form  of  a  large  inverted  ovoidal  bell  with  narrow  but 
heavy  flaring  rim,  the  foot  very  deep  and  full.  Heavy, 
resonant  porcelain,  coated  with  a  brilliant  creamy  glaze 
of  grayish  tone,  with  darker  areas,  the  glaze  on  the 
interior  showing  a  bold  crackle.  Exterior  adorned  with 
four  medallions  worked  in  cavo-rilievo,  showing  the  lotus, 
peony,  pine  and  chrysanthemum,  and  with  moldings  and 
incised  borders.  On  carved  teakwood  five-legged  table- 
stand. 

Height,  19  inches;  diameter,  26  inches;  height  with  stand, 
53%  inches. 


Second  Afternoon 


294 — Lapis-blue  Fish  Bowl  (Ming) 

A  deep  ovoid  bowl  with  a  low  and  broad  foot,  the  exterior 
glazed  in  a  rich  and  glowing  lapis-lazuli  blue,  closely 
crackled,  and  the  interior  coated  with  a  grayish  glaze  of 
dull  unctuous  lustre.  On  a  Ch’ien-lung  stand  of  carved 
wood,  lacquered  in  dull  vermilion  and  gilded,  in  the  form 
of  a  Fu-lion  bearing  on  its  back  a  lotus  pedestal. 


Diameter  of  bowl,  14 14  inches;  height  with  stand,  .36  inches. 


Second  Afternoon 


295 — Beaker-shaped  Vase  ( Cliien-lung ) 

Brilliant  monochrome  glaze  of  rich  and  deep  lapis-blue, 
finishing  evenly  in  a  thick  welter  at  the  foot,  and  retain¬ 
ing  vestiges  of  a  profuse  floral  and  bird  decoration  pen¬ 
ciled  in  gold. 

Height,  16  inches. 


296 — Tall  Mazarix-blue  Jar  (Ming) 

A  rare  and  fine  specimen.  Heavy,  resonant  porcelain, 
molded  in  ovo-cylindrical  form,  with  fiat  foot,  lightly 
indicated  shoulder,  and  short  broad  neck  lightly  ex¬ 
panding  at  the  lip.  Coated  with  a  mirror  glaze  of  richest 
deep  mazarin-blue,  which  covers  also  the  interior  of  the 
lip,  and  flows  under  the  foot,  where  it  shows  five  large 
spur  marks.  (Broad  chip  under  the  foot,  at  the  edge.) 

Height.  16%  inches 


297 — Pair  Fish  Bowls  ( Ch’ien-lung ) 

Low  wooden  tub  shape,  glazed  in  a  soft  warm  yellow  lined 
with  dark  orange  markings  in  representation  of  the 
graining  of  wood,  and  banded  with  three  hoops  in  gilt. 
On  peristyle  stands. 

Diameter,  15%  inches;  height  with  stand,  12  inches. 


298 — Pair  Fu-lioxs  ox  Pedestals  (Ming) 

Seated  on  their  haunches ;  one  with  mouth  open  and  the 
filleted  ball  lying  between  its  fore  paws,  the  other  with 
jaws  closed  and  a  cub  climbing  toward  its  fore  shoulder. 
Finely  sculptured,  and  glazed  in  glowing  Ming  three- 
color,  with  exposures  of  the  biscuit  due  to  abrasion. 

Height,  15%  inches  and  14a/2  inches. 

(Illustrated) 


No.  298— PAIR  FU-LIONS  ON  PEDESTALS  (Min;/) 


Second  Afternoon 


299 — Green  Fish  Bowl  with  Relief  Decoration  {Ming) 

Deep  ovoid  form,  with  wide 
mouth,  and  large  round  lip 
resting  abruptly  on  shoul¬ 
der.  Dark,  mottled  emer¬ 
ald-green  glaze,  minutely 
truite.  On  the  exterior,  the 
peony,  plum,  lotus  and 
chrysanthemum  modeled  in 
bold  relief.  On  tall  carved 
teakwood  stand. 

Diameter,  18*4  inches;  height 
with  stand,  44  inches. 

300 — Three-color  Fish  Bowl 
{Ming) 

Deep  ovoidal  form  with  bold 
round  lip.  Emerald-green 
glaze  without  and  within, 
with  fish-roe  crackle ;  on  the 
exterior,  rocks,  pine  trees 
and  various  flowers  modeled 
in  high  relief,  and  details 
set  off  by  glazes  in  deep 
aubergine  and  yellow.  On 
tall  carved  teakwood  stand. 

Diameter ,  17  inches;  height  with 
stand,  43  inches. 

301- — Large  Decorated  Wine  Jar  {Cilia  Clung) 

Ovoid,  with  short  foot  and  large  lip.  Soft  cream  glaze, 
finely  painted  in  rich  brown  and  black  with  graceful 
floral  designs  within  foliated  panels,  in  conventional 
grounds,  and  inscribed  in  a  band  encircling  the  shoulder: 
“The  ‘one  thousand  pot’  wine  jar  made  by  Han  Chai, 
an  artisian  of  Yung-feng-san  village,  Hu-kuan  Hsien 
(district),  Lu-an  Fu  (prefecture),  Shansi  province,  on 
an  auspicious  day  in  June  in  the  26th  year  of  the  Chia 
Ching  era”  (A.D.  1517).  Large  stand. 

Height,  3‘2y2  inches;  with  stand,  57 y3  inches. 


Second  Afternoon 


302 — Huge  Decorated  Wine  Jar  ( Wan  Li) 

Ovoidal,  with  embryonic  neck  and  heavy  lip;  large  mouth. 
Brilliant  cream  glaze  delicately  crackled,  finely  decorated 
in  rich  seal-brown  with  conventional  floral  patterns  freely 
painted,  and  simple  borders,  and  penciled  with  three  in¬ 
scriptions,  one  of  which  reads:  “The  great  wine  jar  pro¬ 
duced  by  an  artisan  in  the  first  month  of  summer  (April) 
of  the  year  of  Ting-hai  (cyclical  and  zodiacal  signs)  of 
the  Wan  Li  era,  Great  Ming  Dynasty”  (A.D.  1587). 
Large  stand.  Height,  33 %  inches;  with  stand,  58%  inches. 


Second  .Afternoon 


303 — Large  Fish  Bowl  (Ming) 

Deep  ovoid  form  with  large  mouth  and  heavy,  rounded 
lip.  Both  interior  and  exterior  covered  with  a  brilliant 
cream  and  creamy-gray  glaze,  boldly  crackled.  Just 
under  the  lip,  at  opposite  sides,  small  ornamental  handles 
of  animal-head  pattern  modeled  in  slightly  relief.  Carved 
teakwood  stand. 


Height,  20%  inches;  with  stand,  3.5  inches. 


S eco  n  (1  A  f  ter  noo  n 


30-i — Large  Gray  Jar  (Ming) 

Ovoidal  with  high  shoulder,  short  wide  neck  and  boldly 
molded  lip,  and  broad  retired  foot.  Around  the  body, 
large  peon3'  sprays  modeled  in  bold  relief.  Luminous 
monochrome  glaze  of  creamy  gray,  boldly  crackled,  and 
dripping  in  heavy  “tears”  about  the  foot.  On  carved 
wood  tabouret  painted  in  red  lacquer,  and  showing  a 
decoration  of  landscape,  a  lotus  band  and  various  bor¬ 
ders,  incised  and  touched  in  with  a  pale  yellow. 

Height,  18 *4  inches;  with  tabouret,  •'18'/,  inches. 


Second  Afternoon 


305 — Pair  Large  Dogs  Fu  in  Three-color  ( Ming ) 

These  guardians  of  the  threshold  sit  upright  on  their 
haunches  with  fore  legs  straight,  their  mouths  open  and 
tails  erect,  and  the  traditional  cub  and  brocaded  ball  in 
evidence.  They  are  posed  on  plinths.  Glazed  in  brilliant 
emerald-green,  finehr  crackled,  and  enhanced  by  a  per¬ 
vasive  silvery  iridescence,  with  details  in  a  rich  yellow 
and  aubergine- brown.  On  stands. 

Height,  31  inches;  with  stand,  35  inches. 

( Illustrated ) 


306 — Cloisonne  Enamel  Wine  Pot  {Ming) 

Inverted  pear-shape  with  flattened  shoulder  and  short 
wide  neck,  recurving  spout  and  large  recurving  loop 
handles.  Has  disc  cover  with  gilt  knob  finial,  the  cover 
being  modern,  though  it  bears  the  characters  “Wan  Li 
nien  chih.”  Polychrome  decoration  in  rich  tones,  on  a 
turquoise  ground,  in  lotus,  chrysanthemum,  ju-i  and 
plantain-leaf  designs. 


Height,  6  inches. 


No.  305— PAIR  LARGE  DOGS  FU  IN  THREE-COLOR  (Ming) 


Second  Afternoon 


ANCIENT  BRONZES 

309 — Small  Bronze  Mirror  (Han) 

Circular,  with  plane  surface.  Concave  back,  ornamented 
with  squirrcls-among-the-grapes  in  bold  relief.  Silvery 
black,  iron-rust  red  and  malachite-green  patina,  and 
grayish  earthy  incrustations. 


310 — Bronze  Mirror  (Han) 

Circular  and  flat,  with  foliated  rim.  Ornamented  on  the 
flat  back  with  two  phoenixes  and  two  peony  sprays  in 
bas-relief.  Rich  and  lustrous  grayish-black  patina,  with 
much  greenish  incrustation  and  disintegration. 


Diameter,  (i y8  inches. 


Second  Afternoon 


311 — Bronze  Mirror  (Han) 

Circular,  with  convex  surface.  On  the  back,  four  lions, 
two  of  them  raging  at  each  other,  in  high  relief  on  a  de¬ 
pressed  ground  which  shows  ridge  and  ideographic  bor¬ 
ders;  on  the  rim  a  scroll  border.  Dark  leaden-gray 
patina,  with  grayish  pitting*,  and  areas  of  a  heavily 
incrusted  aerugo  of  dull  grayish-green. 

Diameter,  (>%  inches. 


Second  Afternoon 


312 — Bronze  Sacrificial  Vessel  (Sung) 

An  unusual  piece,  both  in  form  and  decoration,  partic¬ 
ularly  as  to  form.  The  conspicuous  features  are  two 
highly  conventionalized  rams’  heads,  facing  in  opposite 
directions,  above  necks  and  breasts  which  unite  in  one 
body  without  animal  form,  the  body  supported  on  four 
short  legs.  On  the  back  of  the  body  an  oval  cylinder 
rises  between  the  two  heads,  leading  to  the  hollow  interior 
and  capped  with  an  ivory  dome  cover  of  mellow  tone. 
The  entire  body  is  inlaid  with  blocks  of  malachite  cut 
in  uniform  pattern  and  laid  in  tiers;  and  the  head,  horns, 
cylinder  and  the  joints  above  the  legs  are  inlaid  with 
silver  and  gold,  largely  in  conventional  spiral  scrolls. 
The  ogre  eyes  of  the  ancient  bronzes  also  appear,  in  high 
conventionalization.  Soft,  unctuous  gray-black  patina, 
with  thicker  patches  of  olive  and  red.  Used  for  holding 
rams’  blood  in  sacrificial  offerings,  the  blood  being  drunk 
after  celebration  of  a  victory.  Carved  and  pierced  teak- 
wood  stand. 


Height,  5y3  inches. 


Second  Afternoon 


313 — Bronze  Sacrificial  Wine  Vessel  (Sung) 

In  form  of  a  long-eared  and  short-legged  quadruped, 
with  tail  forming  a  recurving  loop  handle,  a  small  aper¬ 
ture  at  the  mouth,  and  on  top  of  the  back  an  opening 
closed  with  a  bird-head  cover.  Extensively  inlaid  with 
scrolls  and  formal  devices  in  silver  and  in  gold.  Soft 
blackish-brown  patina,  wTith  thick  incrustations  of  dark, 
rich  malachite  and  mahogany  tones. 

Length,  10  inches. 


311 — Bronze  Statuette  (Ming) 

A  Chinese  representation  of  a  Dutch  figure,  kneeling  on 
one  knee,  on  a  quadrilateral  base  with  chamfered  and 
fluted  corners.  On  one  extended  hand  he  holds  a  tube 
for  an  incense  stick,  and  the  other  hand  is  raised  beside 
it  in  sheltering  attitude.  Base  incised  with  lotus  scrolls 
and  a  fret  border.  Dark  brown  patina. 


Height,  12%  inches. 


Second  Afternoon 


315 — Bronze  Libation  Cup  (Sung) 

Ancient  type,  in  inverted  helmet  shape  with  long  spout, 
at  either  side  of  which  rise  short  posts  with  conical 
tinials,  and  resting  on  three  spreading  spear-head  feet. 
D  ragon-head  loop  handle.  Decorated  with  the  thunder- 
scroll  incised,  the  ogre  eyes,  and  three  dentated  ridges. 
Russet,  yellowish  and  greenish  patina,  and  grayish  earth 
incrustations. 

Height,  8'4  inches. 


316 — Large  Bronze  Mirror  (Han) 

Circular  and  flat  with  molded  rim  lightly  foliated. 
Adorned  with  flower  and  fruit  clusters,  birds  on  the  wing 
and  butterflies,  in  bas-relief.  Brilliant  dark  gray  patina, 
in  spots  almost  black,  and  thick  greenish  incrustations 
spotted  with  gray  and  white. 

Diameter,  7%  inches. 


317 — Bronze  Ladle  (Han) 

Possibly  a  ladle,  possibly  a  cooking-dish ;  a  shallow 
ovoidal  bowl  with  flaring  rim,  and  a  long  handle  pro¬ 
jecting  in  the  plane  of  the  rim,  its  upper  surface  flat, 
half-round  below.  Unornamented.  Where  the  surface  of 
the  metal  comes  to  view,  a  soft  brown  patina  of  rich 
tone ;  elsewhere  thick  incrustations  of  malachite-green 
and  yellowish-olive,  and  light  grayish  earthy  attach¬ 
ments. 

Diameter,  6%  inches;  length  ■with  handle,  15%  inches. 


318 — Bronze  Sacrificial  Vessel  (Han) 

Cauldron-shape,  on  three  conventional  legs  of  animalistic 
suggestion,  with  wide  mouth  and  two  upstanding  angu¬ 
lar-loop  handles.  Encircled  by  bands  of  incised  fret  at 
either  side  of  a  rope  girdle  in  low  relief.  Thin  greenish- 
brown  and  dense  malachite-green  patina.  Teakwood 
cover  with  agate  handle  carved  in  fungus  form,  and 
teakwood  stand. 


Height,  9%  inches. 


Second  Afternoon 


ii!9 — Bronze  Ceremonial  Wine  Vessel  (Han) 

Pear-shape  with  spreading  foot,  the  full  neck  bent  back¬ 
ward  and  ending  abruptly  in  a  wide  and  irregular  mouth. 
Below  the  mouth,  a  rope  loop  apparently  for  support  of 
a  cord,  and  a  rectangular  loop  below  that  to  serve  as 
handle.  Conventional  ornamentation  incised  and  in  re¬ 
lief,  consisting  of  a  scroll  band  above  depending  and 
overlapping  petals.  Thin  reddish-brown  and  thick  ma¬ 
lachite-green  patina,  of  unctuous  surface. 

He it/ hi ,  11  inches. 


Second  Afternoon 


320 — Bronze  Jar  (Sung) 

An  ancient  sacrificial  vessel,  ovoidal  with  flat  foot  and 
broad  flattened  shoulder,  short  incurvate  neck  and 
spreading  lip ;  large  mouth.  Shoulder  inlaid  with  spirals 
and  varied  devices  in  silver,  and  the  foot  similarly  inlaid. 
The  body  between  shows  a  diamond  lattice  of  angular 
scroll  on  a  sunken  ground,  with  a  studding  of  bosses  in¬ 
laid  with  turquoise  and  malachite.  Rich  patina  of  reddish 
mahogany-brown,  malachite-green  and  dark  olive. 
Carved  teakwood  stand. 


Height,  8yg  inches;  diameter,  10%  inches. 


Second  Afternoon 


321 — Bronze  Vase  (Hon) 

Pilgrim-bottle  shape,  flattened,  with  low  spreading  foot, 
short  neck  with  molded  and  expanding  lip,  and  on  the 
shoulder  two  animalistic  loop  handles.  All  sides  deco¬ 
rated  with  formal  scroll  devices  executed  in  low  relief 
within  panels  defined  bv  strap-work.  Patina  of  rich 
mahogany-browns,  malachite-greens,  grayish-browns, 
and  under  the  foot  a  spot  of  blue.  Carved  teakwood 
stand. 


Height,  13  inches. 


Second  Afternoon 


322 — Gilt  Bronze  Buddhistic  Statuette  (Ming) 

Figure  of  a  Lolian  seated  on  a  base  of  rockery,  hands 
resting  on  knees  and  one  hand  holding  a  fan  or  symbol 
in  lotus  and  ju-i  motives.  Head  and  nude  parts  of  body 
gilded,  and  robes  engraved  with  rich  embroideries  gilded. 
At  rear,  ideographs  incised  and  in  relief.  Rich  warm 
brown  and  blackish  patina. 


Height,  12%  inches. 


Second  Afternoon 


323 —  Bronze  Sacrificial  Tripod  Jar  with  its  Own  Orig¬ 

inal  Cover  (Sung) 

Broad  pear-shape  with  expanding  lip,  upright  on  its 
outer  edge,  and  a  squat  bell-shaped  underbody  supported 
on  three  feet  in  the  form  of  animalistic  grotesques;  two 
dragon-head  loop  handles  with  drops.  Relief  decora¬ 
tions  of  conventional  archaic  dragons  and  the  t'no-t’ieh 
ogre  features  on  incised  lei-wen  grounds,  enhanced  by 
spiral  and  bolder  scroll  inlays  of  silver,  and  broader  in¬ 
lays  of  gold.  Rich  and  varied  patina  of  browns  and 
greens,  and  earthy  incrustments.  Cover  in  accord,  with 
spreading  circular  handle  in  openwork.  Teakwood  stand. 

Height ,  10  inches;  handle-spread,  1 1  '/>  inches. 

324 —  Large  Bronze  Tripod  Bowl  (Hun) 

Ovoidal  with  short  spreading  lip  convex  on  top  and 
brought  to  a  sharp  edge,  broad,  slightly  depressed  bot¬ 
tom,  three  animalistic  feet,  and  four  dragon-head  han¬ 
dles  in  low  relief  with  small  loops,  under  the  lip.  Dense 
aerugo  of  rich  green  and  blackish-brown,  with  yellowish 
areas  and  various  light  earthy  incrustations. 

Diameter,  15 %  inches. 

325 —  Bronze  Statuette  (Ming) 

Figure  of  a  sage,  standing  on  a  base  of  rockery,  left  arm 
at  his  side  concealed  beneath  his  flowing  robes,  and  right 
arm  extended  from  the  elbow,  with  hand  and  fingers  in 
graceful  posture,  as  in  a  speaking  gesture,  and  he  is 
looking  downward,  smiling  and  with  lips  widely  parted. 
Areas  of  soft,  smooth  and  dark  greenish-bronze  patina, 
outcropping  from  a  dense  patina  of  rich  black  from  the 
fumes  of  incense. 

Height,  17%  inches. 

326 —  Bronze  Statuette  (Ming) 

Standing  figure  of  a  sage,  with  folded  arms,  on  a  rock 
amid  waves.  H  is  robe  falls  away  from  one  shoulder, 
and  depending  at  his  side  are  a  basket  of  the  sacred 
fungus  and  a  gourd-shaped  wine  bottle.  Rich  black 
patina  from  incense  fumes. 


Height,  19%  inches. 


Second  Afternoon 


327 —  Pair  Gilt  Bronze  Cloisonne  Enamel  Candlesticks 

with  Candles  ( Ch’ien-lung ) 

Spreading  hexagonal  foot  supporting  a  bulbous  and 
ridged  base  from  which  rises  a  hexagonal  column  with 
knop,  surmounted  by  a  bulbous  top  upholding  a  shallow 
circular  basin.  On  the  pricket  above,  a  candle  of  red 
wax,  which  is  also  of  the  Ch’ien-lung  period,  is  modeled 
in  relief  with  a  dragon  among  clouds  above  waves.  Lotus 
decoration  in  polychrome  enamels  on  a  light  turquoise- 
blue  ground.  On  upper  surface  of  basin  a  chrysan¬ 
themum  scroll,  and  on  under  surface  of  foot  plum  blos¬ 
soms  on  cracking  ice,  in  the  same  colors. 

Height,  20%  inches. 

328—  — Siamese  Bronze  Statuette  of  Buddha  ( Ming 

Period) 

The  Buddha  is  seated  upright  on  a  base  resembling  a 
rock  mass  or  a  great  tree  stump,  with  his  feet  resting  on 
a  lotus  cushion  posed  on  the  ground  below  him.  His 
hands  rest  on  his  knees,  one  palm  upward  and  the  other 
palm  downward.  His  robe,  which  leaves  one  arm  and 
shoulder  bare,  is  an  expanse  of  floral  relief  ornamenta¬ 
tion  in  conventional  forms.  Lacquered  in  a  rich,  warm 
brown,  and  gilded.  (Foreground  in  front  restored  in 
lead,  and  coated  with  vermilion  lacquer.) 

Height,  20ys  inches;  length  of  base,  16  inches. 

329 —  Old  Japanese  Bronze  Fountain 

Large  spreading  ovoidal  basin  in  the  form  of  an  ex¬ 
pansive  lotus  leaf,  conventionalized,  in  twelve  foliations 
or  broad  flutings,  which  droop  lightly  at  the  rim,  resting 
upon  a  low  hexagonal  base.  On  the  under  side  of  the 
basin  the  leaf  veins  are  modeled  in  relief ;  below  it  is  a 
band  of  depressed  panels  carrying  a  wave  ornamentation 
in  light  relief,  followed  by  a  conventional  lotus  border 
boldly  sculptured.  The  base,  with  a  low  spreading  foot, 
carries  six  deeply  sunken  quatrefoil  panels,  each  enclos¬ 
ing  a  Fu-lion  rampant  in  high  relief. 

Height,  24%  inches;  diameter,  46%  inches. 


Second  Afternoon 


330 — Stone  Statuette  (Ming) 

A  Buddhistic  figure,  of  pla¬ 
cidly  smiling  countenance, 
standing  on  an  oval  rock,  bare 
feet  projecting  from  the  long 
robes  which  cross  low  before 
the  breast  and  are  held  by  a 
long-tasseled  girdle.  The  left 
forearm  is  projected  straight 
to  the  front,  the  whole  right 
arm  hidden  at  the  side.  Dense 
patina  of  brownish-black  and 
grayish  earthy  incrustations. 


Height,  17%  inches. 

331 — Marble  Jardiniere  (Ming) 
In  quatrefoil  form,  on  a  low 
base  with  foliated  skirt  and 
resting  on  four  heavy  feet. 
The  four  lobes  carved  in  relief 
with  birds,  rocks  and  flowers, 
in  lightly  sunken  foliated  pan¬ 
els.  White  marble  with  a  soft 
and  lightly  mottled  grayish 
weathered  surface. 

Diameter,  20%  inches. 

332 — Marble  Garden  Ornament  (Ming) 

A  group  of  four  Buddhistic  figures  standing  back  to 
back,  each  with  hands  in  a  position  different  from  the 
others,  posed  upon  a  circular  thalamus  which  is  sup¬ 
ported  by  an  eight-sided  base,  the  base  being  extensively 
carved  with  a  scroll,  figures  and  animal  features.  Soft 
creamy-white  weathered  surface. 


Height ,  33  inches. 


Second  Afternoon 


333 — Marble  Jardiniere  ox  Marble  Base  {Ming) 

The  jardiniere  ovoidal,  sculptured  as  a  conventional 
lotus  flower  of  heroic  mold,  with  the  overlapping  petals 
carved  in  relief  about  the  exterior.  On  a  white  marble 
circular  pedestal  carved  in  relief  with  flying  cranes,  and 
the  dragon-horse  four  times  repeated  galloping  over 
waves.  Soft  creamy  patina  and  grayish  earth  deposits. 

Diameter  of  jardiniere,  19  inches;  height  zoith  base,  24ya 
inches. 


Second  Afternoon 


334 — Stone  Sculpture  ( Ming ) 

A  square  pedestal,  of  gray  stone,  carved  in  relief  with 
dragons  emerging  from  the  sea  and  rising  among  clouds, 
and  with  a  brocaded  blanket;  originally  a  base  for  a 
dog  Fu. 

Height,  1 t y4  inches. 


335 — Marble  Pedestal  with  Sun  Dial  (Ming) 

The  pedestal  in  baluster  form,  carved  in  relief  with  em¬ 
blematic  bats  among  conventional  clouds,  and  resting 
on  an  ornate  circular  base  carved  with  conventional  lotus 
designs.  White  marble  with  a  soft  light-gravish  weath¬ 
ered  surface.  Bronze  sun  dial,  modern. 

Height,  34y2  inches. 


TEXTILES  AND  CARPETS 

336 — Silk  Tapestry  Chair-back  ( Ch’ien-lung ) 

Conventional  form;  thickly  cushioned.  Highly  conven¬ 
tional  scroll  and  blossom  design  in  variations  of  the  lotus 
motive,  boldly  drawn,  with  bats  and  swastikas  found 
among  the  scrolls,  worked  in  soft  green,  a  brownish  old- 
gold  and  creamv-whites,  with  touches  of  light  blue,  on  an 
azure  ground. 

Height,  24  inches. 


337 — Silk  Tapestry  Chair-back  (Ch’ien-lung) 

Polyfoil-arch  top.  Thickly  cushioned.  A  beautiful  de¬ 
sign,  of  melon  vines  in  flower  and  fruit,  and  butterflies 
hovering  among  them,  with  a  floral  medallion  at  the 
centre  where  larger  butterflies  are  found,  the  whole 
wrought  in  delicate  blues,  greens,  soft  whites  and  golden- 
yellows,  within  a  ground  of  golden-browns.  Inner  field 
marked  by  a  band  following  the  outline,  in  gold  threads. 

Height,  26  inches. 


Second  Afternoon 


338 —  Cushioned  Embroidered  Silk  Chair-back  ( Ch'ien - 

lung) 

Polyfoil-arch  top.  Ecru  ground,  embroidered  in  light 
and  dark  blue,  white  and  various  soft  and  harmonious 
colors  with  conventional  flower  sprays  and  fruit  clus¬ 
ters,  bats  and  symbols.  An  inner  field  following  the 
outline  is  set  off  in  gold. 

Height,  28  inches. 

339 —  Pair  Antique  Silk  Brocade  Wall  Hangings 

Pale  green  ground  with  light  emerald  sheen,  crossed  by 
successive  lines  of  ornamentation  formed  of  dragon 
medallions  worked  in  gold  and  flame,  white,  blue  and 
brown,  alternating  with  cloud  symbols  worked  in  the 
colors  alone. 

Length,  15  feet;  -width,  31  inches. 

340 —  Silk  Velvet  Table  Cover  ( Nineteenth  Century ) 
Golden  yellow  with  dazzling  sheen.  Square  field  with 
conventional  floral  ornamentation  and  conventional  but¬ 
terfly  corners,  bounded  by  a  narrow  floral  border,  which 
is  succeeded  by  a  broad  border  in  the  dragon-scroll  mo¬ 
tive,  all  the  ornamentation  appearing  in  the  uncut  velvet 
within  a  cut  ground. 

49  inches  square. 

341 —  Silk  Velvet  Table  Cover  ( Nineteenth  Century ) 
Rich  yellow  velvet  with  golden  sheen.  A  square  field  is 
surrounded  by  a  broad  border,  the  decoration  of  both 
being  in  dragon  and  lotus  motives,  all  appearing  in  the 
uncut  velvet  within  a  cut  ground. 

50  inches  square. 

342 —  Pair  Silk  Velvet  Hangings  ( K’ang-lisi ) 

Rich  yellow  velvet  with  golden  sheen,  embracing  brocaded 
designs  in  a  rose-brown,  pale  blue  and  ecru,  with  a  re¬ 
strained  use  of  gold  threads,  the  designs  including 
dragons,  dogs  Fu  and  a  lotus  medallion,  in  a  field  bor¬ 
dered  by  a  bold  floral  scroll. 


( Illustrated ) 


Length,  07  inches. 


Second  Afternoon 


343 —  Pair  Sii.k  Velvet  Wall  Hangings  ( Nineteenth  Cen¬ 

tury) 

Rich  and  beautiful  panels  of  glowing  golden-yellow  vel¬ 
vet,  cut  and  uncut,  variously  adorned  with  figures  of 
sages  and  nobility,  and  landscape,  with  the  horses  of 
the  Chou  Emperor  Mu  Wang  appearing  at  the  bottom, 
four  on  each  panel.  The  figures  in  cut  velvet  on  the 
uncut  ground.  Floral  scroll  border  uncut,  within  a  cut 
ground. 

Length,  5  feet  8  inches;  width,  24y>  inches . 

344 —  Silk  Velvet  Wall  Hanging  ( Nineteenth  Century) 
Golden-yellow  velvet  of  rich  note,  cut  and  uncut,  its 
adornment  the  spotted  stag  and  the  stork,  the  pine  and 
bamboo  and  the  peach,  emblems  of  longevity  all,  the  bat 
for  happiness,  and  the  rock  peony  and  the  weeping  wil¬ 
low,  all  appearing  in  the  cut  velvet  in  an  uncut  ground. 

Height,  25  inches;  length,  6  feet  2  inches. 

345 —  Silk  Velvet  Hanging  ( Cliien-lung ) 

Rich  ruby  velvet  with  glowing  sheen,  enclosing  dragons, 
Fus  and  a  lotus  medallion,  which  are  wrought  in  the 
cloth-of-gold  ground.  Border  formed  of  the  golden 
ground,  with  archaic  dragons  appearing  in  the  velvet 
relief. 

Length ,  68  inches. 

346 —  Silk  Velvet  Table  Cover  ( Nineteenth  Century) 
Rich  golden-yellow  velvet  with  gorgeous  sheen,  display¬ 
ing  dragon  and  cloud  medallions  with  grounds  of  sap¬ 
phire,  emerald,  amethyst,  and  rose-pink. 

Length,  5  feet  7  inches;  width,  4  feet  1  inch. 

347 —  Silk  Velvet  and  Gold  Table  Cover  ( Nineteenth 

Century) 

Rich  dark  purplish-blue  velvet,  with  delicate  sheen,  and 
glistening  with  cloud  medallions  wrought  in  gold  thread. 

Length,  6  feet;  width,  4  feet. 


Second  Afternoon 


348 —  Silk  Brocade  Hanging  ( Ch’ien-lung ) 

Ground  of  golden-bronze,  displaying  imperial  dragons 
among  conventional  clouds,  worked  in  sapphire  and  tur¬ 
quoise-blue,  green,  apricot  and  soft  neutral  tones,  and 
gold,  the  dragons  being  in  gold. 

Length,  81  inches;  width,  56  inches. 

349 —  Piece  Dress  Goods  in  Silk  Velvet  and  Cloth-of-gold 

( Nineteenth  Century ) 

Rich  velvet  of  deep  scarlet  hue,  cut  by  medallions  of 
large  and  small  conventional  lotus  blossoms,  among  twin¬ 
ing  foliar  scrolls,  all  in  the  ground  of  brilliant  gold. 
(Preserved  unused  in  a  trunk,  therefore  its  pristine 
freshness.) 

Length,  8  feet  6  inches;  width,  25  inches. 

350 —  Silk  Brocade  Temple  Hanging  ( C'h'ien-lung ) 

Deep  dark  blue  ground,  in  which  imperial  dragons  glow 
in  brilliant  silver,  among  clouds  worked  in  silver,  white, 
gray,  light  blue  and  browns. 

Length,  8  feet  9  inches. 

351 —  Set  of  Four  Temple  Pillar  Covers  ( Ch'ien-lung ) 
Rugs  of  deep,  loose  pile,  the  ground  a  peach-red,  orna¬ 
mented  with  imperial  dragons  in  dark  and  light  blue, 
white,  yellow  and  peach-pink,  each  rug  so  woven  that  the 
dragon’s  body  is  continuous  when  the  sides  of  the  rugs 
meet,  and  the  dragon  is  always  coiling  upward  around 
the  post. 

Length  (each),  11  feet  2  inches;  width.  2  feet  8  inches. 

352 —  Palace  Wall  Hanging  in  Silk  Velvet  ( Nineteenth 

Century) 

Ro  se-pink  velvet  with  a  light  and  delicate  sheen,  dis¬ 
playing  within  the  soft  surface  of  a  cut  ground  a  bril¬ 
liant  and  extensive  ornamentation  effected  in  the  velvet 
uncut,  the  designs  being  scenes  in  the  Taoist  paradise 
with  numerous  figures  of  immortals. 

Height,  35  inches;  length,  8  feet  7  inches. 


Second  Afternoon 


353 — Set  of  Six  Silk  Velvet  Wall  Hangings  ( Nineteenth 
Century ) 

Rich  and  glowing  golden-yellow  velvet  with  a  delicate 
sheen.  Adorned  in  panels,  square  or  oblong,  and  in 
borders,  with  various  designs,  the  patterns  appearing 
in  uncut  velvet  within  a  cut  ground.  Included  in  the 
ornamentation,  which  varies  on  the  different  hangings, 
are  archaic  dragons,  blossoming  plum  trees  and  flying 
birds,  peach  trees  in  fruit,  landscape  and  waterscape,  the 
tree  peony  in  flower  and  the  pomegranate  in  bearing. 

Length,  8  feet  10y2  inches;  width,  25  inches. 


354 — Velvet  Border-strip  or  Panel  ( K’ang-hsi ) 

A  remarkable  example  of  Iv’ang-hsi  silk  velvet,  the  gol¬ 
den  yellow  ground  with  brilliant  sheen  cut  by  designs 
in  rose  and  rose-pink  and  deep  crimson,  bleu-de-ciel  and 
emerald,  the  designs  including  a  lotus  medallion  and 
scrolling  foliations,  and  bands  of  angular  fret. 

Length,  10  feet  2  inches. 


355 — Long  Carpet  ( Ch'ien-lung ) 

A  runner  or  long  strip.  Soft  loose  pile,  close-lying. 
Soft  peach-pink  ground  throughout,  ornamented  with 
successive  conventional  floral  medallions  in  old-gold,  each 
centred  by  a  swastika  in  sapphire-blue,  and  occupying  a 
field  defined  by  conventional  scroll  corners,  in  turquoise- 
blue  and  white;  at  either  end  of  the  runner  the  formal 
scroll  becomes  clearly  the  archaic  dragon-scroll.  Border 
of  swastika-fret  in  sapphire-blue  on  a  tawny  ground,  in¬ 
terrupted  by  conventional  blossoms. 

Length,  35  feet;  width,  27  inches. 


Second  Afternoon 


FURNITURE 

356 — Inlaid  Casket  (Ming) 

Oblong.  Black  lacquer  inlaid  with  mother-of-pearl  in 
lotus-scroll  and  other  formal  designs. 

Length,  12%  inches. 


357 — Inlaid  Box  with  Cover  (Ming) 

Rectangular.  Rich  black  lacquer  inlaid  with  lotus  scrolls 
and  other  floral  and  formal  designs  in  mother-of-pearl 
and  metal. 

Length,  12%  inches. 


358 — Pair  Lacquer  Boxes 

Shallow  oblong  trays  on  low  feet,  which  become  boxes 
by  the  placing  over  them  of  the  deep  covers.  Brown 
lacquer,  penciled  in  gold  with  waterside  landscape,  pa¬ 
vilions  and  figures,  on  top  and  all  sides. 

Length,  17%  inches. 


359 — Black  Lacquer  Small  Trunk 

Rectilinear,  with  strap  hinges,  bail  handles,  and  metal 
clasp  with  incised  ornamentation.  Profuse  ornamenta¬ 
tion  of  conventional  designs  on  all  sides  in  red,  brown 
and  gold  lacquer. 

Length,  19  inches. 


360 — Lacquer  Box  with  Cover  (Ch'ien-lung) 

Oblong  with  rounded  and  indented  corners  and  low  foot. 
Top  painted  with  long-tailed  birds,  butterflies  and  flow¬ 
ers  in  soft  colors  on  a  black  ground.  Sides  ornamented 
with  panels  of  bamboo  basketry,  within  red  lacquer 
grounds.  On  stand. 

Height,  7 %  inches  (with  stand,  42  inches) ;  length,  34 % 
inches;  width,  16%  inches. 


Second  Afternoon 


361 — Pair  Carved  Wood 
( Cliien-lung ) 


361 


362 


Candle  Stands  with  Candles 

The  stands  carved  as  standing 
Fu-lions  on  quadrilateral  bases, 
one  lion  holding  a  fungus  branch 
in  its  mouth,  each  supporting  on 
its  back  a  column  in  openwork 
carving  representing  a  dragon 
within  a  floral  scroll,  the  column 
topped  by  a  lotus  blossom  with 
pricket  to  sustain  the  candle. 
Painted  in  red  lacquer  and  gilded. 
The  candles,  which  are  also  of 
the  Ch’ien-lung  period,  are  of  red 
wax,  modeled  in  relief  with  a 
dragon  amid  clouds  above  waves. 

Height,  48  inches. 

-Red  Lacquer  Screen  (Ming) 
Penciled  with  a  ceremonial  scene 
in  the  Taoist  paradise,  figures 
honoring  the  peach  tree  of 
longevity,  a  palace  emerging 
from  clouds,  rocks  and  the  sea, 
in  colors  of  soft,  low  tones,  and 
gilding,  on  a  vermilion  ground. 
In  carved  and  pierced  teakwood 
stand. 

Height,  31  inches. 


363 — Pair  Black  Lacquer  Trunks 

Rectilinear,  with  flat  top.  Profuse  decoration  in  gold 
on  cover  and  all  sides,  displaying  luxuriant  peonies,  the 
blossoming  plum  tree,  a  phoenix  and  aggressive  dragons, 
all  on  a  black  ground ;  interior  in  vermilion  lacquer. 
Bail  handles.  (Lock  and  hinges  missing.) 

Height,  22%  inches;  length,  34  inches. 


Second  Afternoon 


•164* — Paik  Carved  Teak  wood  Armchairs  ( Ch'ien-lung ) 

Quadrilateral  seats  with  molded  edges,  square  legs  and 
stretchers,  and  pierced  dragon-scroll  knee-braces.  Arms 
and  back  boldly  carved  and  pierced,  the  arms  in  dragon- 
scroll  motive  and  back  with  Fu-lions  playing  with  the 
brocaded  ball;  in  the  back  a  solid  splat  rolling  high  above 
the  top  rail,  inlaid  with  birds  and  figures  in  relief  in 
willow,  and  the  scrolling  top  carved  with  a  bat.  Have 
brocade  cushions. 


Second  Afternoon 


365 — Teakwood  Screen  with  Picture  in  Natural  Feath¬ 
ers  ( Ch'ien-lung ) 

A  phoenix,  stork  and  mandarin  ducks,  at  the  edge  of  a 
pond  under  a  blossoming  tree,  in  moonlight,  appear  in 
kingfishers’  and  other  feathers,  and  other  materials,  out¬ 
standing  from  a  black  ground.  Frame  and  stand  carved 
with  scrolls  and  symbols  in  relief.  Screen  is  arranged 
for  removal  from  stand,  for  hanging  as  a  wall  picture. 

Height  (of  picture),  27  inches;  width,  23  inches;  height 
complete,  3(>  inches. 


366 — Pair  Carved  Wood  Wall  Ornaments 

In  the  form  of  tall-necked  quadrilateral  vases,  one  con¬ 
taining  lotus  flowers  and  one  peonies,  both  vases  carved 
in  relief,  one  with  a  dragon-scroll  and  the  other  with  a 
lotus  scroll,  lacquered  and  gilded. 

Height,  4  feet  6  inches. 


367 — Carved  Teakwood  Chair 

Broad  quadrilateral  seat  with  rounded  corners,  the  inner 
seat  of  woven  rattan ;  rounded  legs  and  stretchers,  and 
a  skirted  footrest.  Round  stiles  and  a  flattened-areh 
top-rail,  supported  by  six  round  spindles,  suggesting  the 
English  mahogany  “Chinese  Chippendales.”  (Top  rail 
cracked  at  centre.) 


368 — Set  of  Four  Side  Chairs 

Square  seats,  legs  and  underbraces,  the  latter  skirted 
in  foliate  outline;  below  the  seats,  skirts  carved  and 
pierced  in  scrolls  in  the  motive  of  bats  among  clouds. 
Lightly  tapering  stiles  unite  with  the  top  rail  in  typical 
Ch’ien-lung  indentions,  and  a  splat  carved  in  open  scrolls 
is  bracketed  to  similar  scrolls  attached  to  the  stiles.  All 
surfaces  penciled  in  gold  with  lotus  motives  and  bats. 
Seats  supplied  with  brocade  cushions. 


Second  Afternoon 


369 — Pair  Black  Lacquer  Armchairs 

Broad  quadrilateral  seat;  open  back  and  arms,  indented 
at  the  curves ;  solid  splat,  rolling  high  above  the  top  rail. 
Square  legs  and  stretchers ;  below  seat,  skirt-braces  in 
openwork  dragon  scroll.  Profusely  decorated  with  con¬ 
ventional  lotus  motives  in  gold  and  brown  lacquer ;  on  the 
splats,  mountainous  landscapes. 


370 — Red  Lacquer  Cabinet  {Ming) 

Rectilinear ;  two  doors  with  brass  hinges,  and  brass  drop- 
handles  and  handle  plates ;  at  ends  two  brass  bail  handles 
(one  bail  missing).  Penciled  in  color  and  gold  with  birds 
on  the  wing,  trees  in  flower,  Fu-lions,  and  landscapes  with 
architecture  and  figures,  on  a  rich  dark  red  ground. 
The  figures  are  seen  in  pavilions,  and  abroad  afoot  and 
mounted,  and  in  boats  afloat.  On  wooden  stand. 

Height,  31  inches  ( with  stand,  55 %  inches);  length,  37 
inches;  depth,  24%  inches. 


371 — Two  Korean  Cabinets  ( Ri ) 

Both  rectilinear,  on  low  stands;  both  black  lacquer,  with 
brass  mounts  on  all  angles,  brass  bail  handles,  two  hinged 
doors  and  interior  sliding  doors.  Both  inlaid  with  bril¬ 
liantly  iridescent  mother-of-pearl,  the  ornamentation  in¬ 
cluding  trees,  flowers  and  song  birds,  fish  swimming  in 
ponds,  storks,  deer,  tortoises  and  ducks.  On  the  top  of 
one  is  a  Shou  medallion,  with  bats;  and  on  the  face 
of  the  other  the  “double  joy”  symbol,  a  wish  of  con¬ 
nubial  bliss,  appears  with  other  ideographs.  Have  ori¬ 
ginal  locks  and  keys. 

Height  ( of  one),  19  inches  ( with  stand,  28%  inches);  length, 
31%  inches;  the  other,  height,  20%  inches  ( with  stand, 
30  inches);  length,  32%  inches. 


Second  Afternoon 


372—  -Black  Lacquer  Table 

High,  long  and  narrow,  with  scrolled  and  pierced  skirt, 
and  slender  legs  with  conventional  fungus-form  braces 
over  low  stretchers.  Decorated  in  gold  over  reddish- 
brown  lacquer  with  flowers  and  birds,  a  waterside  land¬ 
scape,  lattices  and  varied  scrolls. 

Length,  53  inches. 

373 —  Carved  Lacquer  Long  Table 

Short  skirt,  expanding  into  scrolled  braces  at  the  broad 
straight  legs,  which  are  united  in  pairs  bv  stretchers 
and  scrolls.  All  surfaces  richly  ornamented  with  lotus 
scrolls,  flowerets  and  archaic  dragons,  finely  engraved 
and  painted  in  dark  green  and  red  lacquer  on  a  brown¬ 
ish-vermilion  lacquer  ground. 


Length,  72  inches. 


Second  Afternoon 


374 — Black  Lacquer  Cabinet  {Ming) 

Oblong,  on  four  low  feet,  with  skirt-braces  carved  with 
dragon-scroll  borders  in  relief;  the  top  projects  at  the 
ends,  over  knee-braces  of  openwork  dragon-scroll.  Two 
compartments  with  double  doors  and  brass  hinges,  and 
two  drawers.  Front  painted  in  red,  green,  blue  and  white 
lacquer,  with  birds,  flowers,  garden  scenes  and  figures, 
and  Shou  medallions. 

Height,  331/,  inches;  length,  53  inches. 


375 — Lacquer  Pier  Glass 

Narrow  oblong  mirror  within  a  wing  frame,  on  a  stand 
with  chamfered  corners  and  four  low  feet,  carved  in  red 
lacquer  and  gilded.  Wings  and  cresting  are  richly  carved 
and  pierced  with  panels  containing  ornaments  and  birds 
and  numerous  figures.  On  the  stand  below,  at  either  side, 
are  guardian  figures,  and  between  the  stiles  of  the  frame 
is  a  cabinet  with  sliding  doors  carved  and  pierced.  The 
stand  itself  is  carved  in  relief  in  floral  motive,  and  has 
an  openwork  balcony  railing. 

Height,  73  inches. 


376 — Black  Lacquer  Decorated  Throne  Chair 

Large  square  seat  with  arms  at  two  levels,  and  a  higher 
back  in  three  sections,  the  central  section  mounting  above 
the  sides  and  rolling  backward  in  a  scroll.  Short  ex¬ 
panding  skirt,  and  scroll  legs  resting  on  a  rail  base  sup¬ 
ported  on  four  ju-i  feet.  Rich  floral  decoration  every¬ 
where,  in  gold  and  reddish  and  brown  lacquer,  with  inter¬ 
spersed  lattices  and  Shou  medallions,  and  the  centre 
of  the  back,  or  broad  splat,  inlaid  with  a  luxuriant  peony 
branch. 


Second  Afternoon 


377 — Set  OF  PoUR  Inlaid  Hanging  Wall  Panels  (Cli’ien- 
lung) 

Upright  oblong  form;  enclosed  and  deep  set  within 
carved  teakwood  frames;  black  lacquer  panels  inlaid  with 
varied  objects  in  a  variety  of  stones.  The  ornamenta- 
tation  includes  vases  and  other  objects  of  household 
adornment,  with  flowers  and  fruit,  in  white,  green  and 
fei-ts'ui  jade,  agate,  coral,  malachite,  amber  and  lapis- 
lazuli. 

Height,  521/4  inches;  width,  24y,  inches. 

.  ( Illustrated ) 


Xo.  .‘{77 — SET  OF  FOUR  INLAID  HANGING  WALL  PANELS 


Second  Afternoon 


378 — Set  of  Eight  Screen  Panels  (Ming) 

Painted  in  colors  on  silk,  and  bordered  with  silk  and 
gold  brocade ;  mounted  in  red  lacquer  frames  which  at 
the  base  are  carved  and  pierced  in  lotus  pattern  and 
gilded.  The  decorations  include  ladies  at  games,  danc¬ 
ing  and  at  their  toilette,  boys  at  play,  women  musicians, 
a  girl  dancing  before  the  Emperor,  pavilions,  palaces 
and  gardens — quite  possibly  a  continuous  Chinese  story 
— in  rich  and  mellow  colors  of  time-softened  tone.  On 
the  back,  wishes  for  luck  and  life. 

Height,  58  inches ;  panel  •width,  23 ]/4  inches. 

(Illustrated) 


379 — Pair  Japanese  Six-fold  Screens 

By  Yeitoku  Kano.  Painted  in  many  colors,  of  soft 
tone,  on  a  gold  ground,  and  picturing  a  Chinese  repre¬ 
sentation  of  “The  Battle  of  the  Flowers,”  taking  place 
before  the  Emperor  and  Empress  in  spacious  palace 
gardens.  Eighteen  ladies  figure  in  the  actual  battle 
on  each  side,  and  attendants  gather  about  the  Emperor 
and  Empress.  Back  of  the  screen  in  silver  leaf,  each  fold 
adorned  with  ten  famous  Japanese  poems  illustrated  in 
water  color. 

Height,  5  feet  II y2  inches;  panel  width,  25  inches. 


No.  378— SET  OF  EIGHT  SCREEN  PANELS 


Second  Afternoon 


380 — Carved  Teakwood  Palace  Screen  with  Silk  Tapes¬ 
try  Panels 

( The  Tapestry  of  K'ang-hsi,  the  Carved  Framing 
of  Ch’ien-lung ) 

A  remarkably  fine  screen,  and  undoubtedly  a  produc¬ 
tion  for  palace  use.  The  very  beautiful  silken  tapestry 
panels  are  wrought  in  delicate  tones  within  a  creamy- 
white  ground,  and  each  separately  presents  a  floral 
growth  in  gracefully  naturalistic  design.  The  represen¬ 
tations  include  the  bush  rose  and  the  tree  rose,  the  poppy 
and  the  hydrangea,  the  peach,  plum  and  lily  and  others 
of  the  flora.  The  frames  are  finely  and  elaborately 
carved  in  bas-relief  in  chrysanthemum  and  scroll  mo¬ 
tives,  and  rest  in  individual  stands  which  are  freely 
carved,  and  ornamented  with  panels  of  gilded  scrolls. 
The  backs  are  painted  in  gold  lacquer  with  extensive 
landscapes.  The  screen  is  of  twelve  panels,  eight  of  them 
in  a  straight  line  side  by  side,  with  wings  of  two  panels 
each  set  at  an  oblique  at  the  ends. 

Height,  67 yz  inches;  panel  width ,  13%  inches. 

( Illustrated ) 


am-CARVED  TEAK  WOOD  PAI.ACE  SCREEN  WITH  SII.K  TAPESTIIY  PANELS 


t 


THIRD  AND  LAST  AFTERNOON’S  SALE 


THURSDAY,  JANUARY  24,  1918 

AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  2.30  O’CLOCK 

Catalogue  Nos.  384  to  526,  inclusive 


384 — Pink  Tourmaline  Snuff  Bottle 

Flattened  pear  shape,  carved  in  the  “Chinese  ruby”  bril¬ 
liantly  polished,  and  with  relief  ornamentation  of  a  fruit 
vine  in  bearing  and  a  squirrel  at  play  in  it. 


385 — Amber  Snuff  Bottle 

Bulbous  flask  shape  with  delicate  foot.  Opaque  amber  of 
yellow  and  rich  brownish-red  mottlings,  with  a  mirror 
polish. 


386— Lapis-lazuli  Snuff  Bottle 

Tall  ovoidal  jar  shape,  flattened,  with  short  spreading 
lip  and  low  foot,  and  two  lion-mask  and  ring  handles 
carved  in  low  relief.  Soft  polish. 


387 — Ivory  Snuff  Bottle 

Compressed  spherical  form  with  small  flat  foot,  short 
cylindrical  neck,  and  cap-shaped  stopper,  the  whole  with 
a  smooth  soft  polish. 


Third  and  Last  Afternoon 


388 —  Coral  Snuff  Bottle 

Slender  compressed-cylinder  form  with  low  foot.  Rich 
pink  coral  brightly  polished,  carved  in  relief  with  boys 
flying  a  kite,  flowers  and  a  swallow.  A  vein  of  white  is 
deftly  utilized  as  the  centre  of  a  blossom.  Stopper 
carved  and  undercut  with  an  insect  on  a  blossom  stem. 
Ivory  stand. 

Height,  3  inches. 

389 —  Turquoise  Snuff  Bottle 

In  the  shape  of  a  fruit,  and  carved  in  relief  on  all  sides 
with  an  encircling  vine  with  lesser  fruit  and  large  leaves. 
At  one  point  is  a  small  dog.  Pure  turquoise  of  light 
tones,  softly  polished.  Aventurine  stopper. 

390 —  Turquoise  Snuff  Bottle 

Flattened  flask  shape  with  foot.  Turquoise  of  fair  and 
delicate  tone,  lightly  veined  in  different  areas  with  dark 
reticulations.  Carved  in  low  relief  with  a  phoenix  and 
stork,  and  bamboo  and  fungus,  while  pine  trees  carved 
in  relief  and  undercut  extend  up  the  sides  and  over  the 
shoulders,  forming  handles,  and  at  each  shoulder  is 
perched  a  bird.  Soft,  bright  polish. 

391 —  Green  Turquoise  Snuff  Bottle 

Ovoidal  jar  form,  flattened,  with  delicate  foot.  Animal- 
head  handles  in  relief  at  the  shoulder,  overlapping  an  en¬ 
circling  band  of  archaic  dragon-scroll  in  relief;  three 
small  leaf-point  borders  in  relief.  All  the  rest  of  the  body 
delicately  incised  with  an  angular  grill.  Metal  stopper 
pierced  in  floral  motive. 


392 — Coral  Snuff  Bottle 

Flattened  flask  shape,  embraced  within  elaborate  carving. 
On  one  face  a  lively  man  carved  in  relief  holds  a  Fu- 
lion  by  a  chain  through  its  nose,  and  on  the  opposite 
face  a  lion  grasps  a  peony  stem  which  curls  out  in  bold 


Third  and  Last  Afternoon 


undercutting  and  supports  a  basket  of  peaches  which 
swings  freely  along  the  stem  by  its  handle.  A  flower  of 
the  peony  is  unfolding  on  one  shoulder,  and  on  the  other 
is  the  figure  of  a  boy  in  high  relief.  On  the  stopper  a 
lion  with  a  flower  spray,  with  a  basket  swinging  free  on 
the  stem.  Carved  ivory  stand. 

Height,  inches. 

393 — Twin  Snuff  Bottles 

Cylindrical,  each  with  flattened  shoulder  and  low  foot. 
Surrounded  by  smiling  figures  carrying  peaches,  peonies 
and  the  sacred  fungus,  and  one  man  having  a  Fu-lion 
in  a  heavy  chain  leash,  all  in  high  relief  and  undercutting. 
Carved  of  a  single  block  of  rich  pink  coral  brightly  pol¬ 
ished.  Carved  ivory  stand. 

Height,  3  inches. 


394- — White  Jade  Snuff  Bottle 

Spherical  form  compressed,  with  cylindrical  neck  and 
short  spreading  foot.  On  the  shoulder,  bat  and  small 
ring  handles  in  relief.  Obverse  and  reverse  carved  with 
coin  medallions  in  delicate  relief,  portraying  Charles  III 
of  Spain  with  the  date  1779,  and  the  royal  arms. 


395 — Fei-ts’ui  Jade  Snuff  Bottle 

Flattened  ovoidal  form  with  recessed  foot.  Fine  trans¬ 
lucent  jade  with  the  softness  of  clouds  in  its  white,  and 
rich  areas  of  the  beautiful  emerald-green.  Brilliant 
polish.  Carved  in  relief  with  flourishing  peony  blossoms 
and  a  pair  of  swallows  on  the  wing.  Has  carved  teak- 
wood  table-stand. 


396 — Amethyst  Water  Cup  with  Cover 

Semi-globular;  carved  in  high  relief  with  a  Fu-lion  and  a 
bat,  and  with  bats  and  cloud  scrolls  in  low  relief.  Cover 
surmounted  by  a  Fu-lion  standing. 


Third  and  Last  Afternoon 


397 —  Agate  Paperweight 

Figure  of  a  dog  lying  down,  with  head  up,  carved  in  a 
conglomerate  agate  of  varying  yellow  and  dark  green 
tones,  and  brightly  polished. 

398 —  White  Jade  Ornament 

The  figure  of  a  phoenix  squatting  upon  the  ground,  with 
head  turned  well  around,  and  holding  in  its  beak  the 
stem  of  a  cluster  of  peaches  which  lie  upon  its  back, 
the  peach  group  and  the  bird’s  curled-up  tail  carved  in 
bold  relief  and  undercutting.  Wing  plumage  in  relief 
and  incised.  Soft  polish. 

Length,  3%  inches. 


399 — Amber  Statuette 

Seated  figure  of  Ivuan-yin,  in  Buddhistic  robes  and  with 
a  streamer  in  relief  about  her  shoulders,  holding  a  short 
scroll  in  her  left  hand,  and  her  right  hand  resting  on  a 
larger  scroll  at  her  side.  Brown  amber  with  a  light 
golden  translueence.  A  part  of  her  robes  have  at  some 
time  been  painted  and  gilded,  and  retain  in  varied 
measure  portions  of  this  ancient  “improvement.” 

Height,  3  inches. 


400 — Pink  Coral  Okimono 

In  form  of  the  standing  figures  of  two  ladies,  in  miniature, 
one  bending  over  the  left  shoulder  of  the  other,  whose 
body  is  still  further  inclined  forward.  Green-tinted 
ivory  peony  stand. 


401 — Pink  Coral  Okimono 

Standing  figure  of  a  lady  of  genial  expression,  who  leans 
gracefully  forward  and  to  her  right,  carrying  an  orna¬ 
mental  basket  of  peaches  and  holding  a  single  peach 
aloft ;  blossoms  bedeck  her  high  headdress.  Tinted  ivory 
openwork  stand. 


Height,  3  inches. 


Third  and  Last  Afternoon 


402 — Pink  Coral  Statuette 

Figure  of  a  philosophic,  good-natured  old  woman,  carry¬ 
ing  a  basket  of  peonies,  and  a  blossoming  branch  which 
entwines  her  shoulders.  Peony  blossom  stand  in  tinted 
ivory. 

Height,  3%  inches. 


403 — Pink  Coral  Figure  Group 

A  plump  and  happy  little  lady,  holding  a  lotus  spray 
above  her  head,  standing  on  some  rockery,  and  a  bird 
and  a  playful  boy  with  a  basket  at  her  feet.  Tinted  ivory 
stand  carved  with  the  polydorus  lucidus  in  openwork. 

Height,  3%  inches. 


404 — Pink  Coral  Okimono 

Standing  figure  of  a  slender,  sinuous  female  in  lightly 
flowing  garments,  a  spray  adorning  her  hair,  who  holds 
at  shoulder  height  in  either  hand  a  blossom  and  an  orna¬ 
mental  basket.  Tinted  ivory  openwork  stand. 

Height,  4y8  inches. 


405 — White  Jade  Bird  Statuette 

Figure  of  a  stork  standing  on  a  rock,  with  a  floral  spray 
held  in  its  bill  and  extending  in  undercutting  and  relief 
across  its  body.  Wings  in  relief  and  incised.  Bright 
polish. 

Height,  I  inches. 


400 — Aquamarine  Vase  with  Cover 

In  form  of  the  ancient  cauldron-shaped  tripod  incense 
burners.  Carved  in  relief  with  peony  sprays,  and  at 
opposite  sides  with  two  peony-loop  and  ring  handles  in 
high  relief.  Dome  cover  surmounted  by  a  phoenix  with 
peony  spray  in  undercutting. 


Height,  4V4  inches. 


Third  and  Last  Afternoon 


407 — Writer’s  Agate  Water  Cup 

In  form  of  a  “sea  turtle”  in  high  conventionalization, 
crawling  on  short  legs,  with  head  lifted,  a  loose  ring  pen¬ 
dant  beneath  its  chin,  and  tail  curled  up  and  supporting 
another  loose  ring.  Back-plate  in  relief  and  incised,  with 
opening  at  the  centre  and  a  cover  surmounted  by  a  heron 
holding  a  spray  on  which  a  loose  ring  plays.  Has  teak- 
wood  stand. 

Length,  4%  inches. 


408 — Aquamarine  Vase  with  Cover 

In  form  of  a  large  ovoidal  wine  jar,  resting  on  rocks  at 
the  border  of  waves.  Carved  in  relief  is  an  old  man  fishing 
in  the  waves,  and  a  boy  watching  from  the  rocks  above. 
Two  other  figures  appear  also  in  relief,  one  a  boy  on  an 
ox ;  and  extending  up  the  sides  and  over  the  shoulder 
of  the  jar  are  pine  trees  in  high  relief  and  undercutting. 
Cover  with  Fu-lion  finial. 

Height,  4%  inches. 


409 — Fei-ts’ui  Jade  Ornament 

A  single-masted  Chinese  working  boat,  with  its  sail  up 
and  halyards  trained  to  a  bamboo  pole  abaft  of  ’midships, 
near  the  arched  deck  house.  At  the  masthead  a  lantern 
swings  freely  in  a  loose  ring,  and  on  the  bow  is  a  man 
kneeling  over  a  fishing  basket.  Teakwood  stand  in  wave 
motive. 

Length,  4%  inches. 


410 — Fei-ts’ui  Jade  Sculpture 

Figure  group  carved  in  fei-ts'ui  jade  of  delicate  tones 
and  translucence,  and  brightly  polished,  representing  a 
figure  seated  on  a  rock  and  holding  a  basket  of  the 
sacred  fungus,  and  another  figure  standing  on  the  rock, 
just  behind,  bearing  a  lotus  on  her  shoulder.  Carved 
teakwood  stand  inlaid  with  silver  wire. 


Height,  4%  inches. 


Tith’d  and  Last  Afternoon 


411 — Coral  Figure  Group 

Statuette  of  a  lissom  lady  of  smiling  countenance, 
astride  the  back  of  a  swan.  She  carries  a  fly  whisk,  and 
is  entwined  by  the  stems  of  the  rock  peony  in  luxuriant 
bloom.  Carved  in  rich  dark  pink  coral,  with  brilliant 
polish.  Carved  ivory  openwork  stand  in  floral  motives, 
green  tinted,  mounted  on  an  elaborate  teakwood  pedestal. 

Height,  (i'/i  inches:  with  stands  complete,  9  inches. 


Third  and  Last  Afternoon 


412 —  White  Jade  Figure  Group 

Standing  Buddhistic  figure,  in  elaborate  robes,  holding  in 
the  left  hand  a  ju-i  sceptre  over  the  shoulder,  and  right 
hand  resting  on  the  head  of  a  boy  who  carries  a  vase. 
Both  posed  on  a  base  of  openwork  rockery.  The  prin¬ 
cipal  figure  wears  a  shoulder  cape  carved  in  ju-i  outline 
in  relief.  Translucent  jade  of  waxen  white,  with  soft 
polish.  Carved  teakwood  stand. 

Height,  5%  inches. 

413 —  Coral  Statuette 

Standing  figure  of  a  slender  lady  of  sinuous  lines,  with 
streamers  swinging  wide  of  her  flowing  robes,  and  beside 
her  on  a  rock  ledge  a  Fu-lion  on  his  haunches,  with  head 
raised  high.  She  holds  over  her  shoulder  a  peony  branch, 
and  is  smiling.  Rich  deep  pink  coral,  brightly  polished. 
Ivory  stand  carved  in  openwork  with  pomegranates. 

Height,  6%  inches. 

414 —  Coral  Carving 

Supernatural  female  figure  in  conventional  garments, 
standing  astride  a  fish  whose  body  is  bent  in  a  deep 
U-curve,  the  fish  spouting  streams  of  water  about  a 
wheel  held  between  its  open  jaws.  The  lady,  with  a 
quizzical  smile,  carries  in  her  arms  across  her  chest  a 
large  dragon,  whose  extremities  rise  far  above  her  head, 
the  dragon  possessing  in  the  grip  of  its  jaws  the  jewel 
of  omnipotence.  Ivory  stand  carved  in  leaping  wave 
form  and  green-tinted. 

Height,  8%  inches. 


415 — Coral  Statuette 

A  smiling  and  slender  young  lady  of  sinuous  curves,  with 
hair  dressed  high,  standing,  is  holding  a  basket  of  flowers 
to  the  handle  of  which  is  attached  a  chain  of  five  loose 
links,  leading  to  a  peony  branch  held  aloft.  The  whole 
in  pink  coral  smoothly  polished.  Tinted  ivory  stand,  on 
carved  wood  table. 


Height,  5  inches;  ( complete ,  8  inches.) 


Third  and  Last  Afternoon 


416 — Fei-ts’ui  Jade  Hanging  Vase 

Flattened  pear  shape  with  broad  neck  and  spreading  foot, 
and  dome  cover  with  knob  finial.  At  the  sides  of  the  neck 
two  scrolled  loop  handles,  on  which  swings  a  deep  locked- 
in  bail  handle,  and  on  the  front  of  the  neck  is  an  orna¬ 
mental  animal-head  handle  in  high  relief,  with  loop  and 
loose  ring.  Finely  carved  in  delicate  relief  with  a  scroll 
band  in  archaic  motive,  including  the  ogre  features 
highly  conventionalized,  and  with  borders  in  relief  and 
incised.  Teakwood  stand. 

Height,  7%  inches. 


417 — Shell  Carving 

A  large  natural  sea  shell  of  pearly  whiteness  is  finely 
carved,  advantage  being  adroitly  taken  of  its  natural  con¬ 
formation,  in  the  form  of  a  lotus  leaf  broadly  cupped, 
within  which  a  goldfish  and  a  frog  are  carved  in  relief, 
while  a  crab  clambers  over  one  edge.  Smaller  leaves  and 
a  seedpod  also  appear  at  the  edges,  and  underneath 
stems  and  buds  are  carved  in  bold  relief  and  veins  in 
delicate  relief. 

Length,  10%  inches. 

417a — Purple  Glass  Jardiniere  (Ch’ien-lung) 

Circular  and  deep,  with  contour  slightly  ovoid,  broad  fiat 
foot  and  narrow  flaring  rim.  Brilliant  transparent  glass 
in  a  uniform  tone  of  rich  purple.  Has  carved  teakwood 
stand. 

Diameter,  13%  inches. 


417u — Blue  Glass  Jardiniere  ( Ch’ien-lung ) 

Compressed  globular  form  with  large  mouth  and  plain 
lip.  Brilliant,  transparent  glass  of  sapphire-blue,  en¬ 
circled  by  a  deep  band  of  faceted  ornamentation,  the 
facets  hexagonal  and  concaved.  Carved  teakwood  stand. 


Diameter,  14  inches. 


Third  and  Last  Afternoon 


417c — Pair  Palace  Hanging  Lanterns  ( Ch'ien-lung ) 

Elaborate  constructions  in  gold  lacquer  and  colors, 
silks,  beads  and  metal.  Hexagonal,  with  intricate  archi¬ 
tectural  work  in  scrolls,  grills,  Shou  and  phoenix  medal¬ 
lions;  at  the  base  a  gilt  bronze  band  with  archaic  dragon 
ornamentation.  Framed  in  the  sides,  pictures  of  palace 
gardens  worked  in  silk  and  applied  on  a  silk  background 
painted  with  mountain  scenery.  Bottom  fringed  with 
strings  of  glass  beads  in  turquoise-blue  and  white,  and 
from  the  top  hang  long  pendants  of  beads  and  lacquer, 
depending  from  guardian  dragons. 

Length,  exclusive  of  fringe  and  ceiling  chain,  54  inches. 

41 7n — Pair  Palace  Hanging  Lanterns  ( Cli'ien-lung ) 
Companions  to  the  preceding. 


CHINESE  PORCELAINS  AND  POTTERY 

418 — Eggshell  Chrysanthemum  Coupe  ( Yung  Clieng ) 

Ovoid,  with  a  perfect  foot  of  just  perceptible  definition 
and  gracefully  rounded  shoulder  finishing  in  a  natural 
thin  lip.  On  the  shoulder,  at  the  verge  of  the  lip  and 
projecting  a  little  over  the  mouth,  are  three  chrysan¬ 
themum  sprays,  each  consisting  of  a  single  flower  with 
many  individualized  petals,  on  a  slender  stem  modeled 
in  relief  and  in  the  round,  and  from  which  spring  up¬ 
ward-curling  leaves.  Delicate,  firm,  translucent  egg¬ 
shell  porcelain,  with  a  softly  lustrous  glaze  of  pure 
cream  tone,  showing  a  light  and  scattered  crackle  in 
pale  cafe-au-lait  hue.  Carved  teakwood  stand  in  dragon- 
table  form. 


Diameter,  4%  inches. 


Third  and  Last  Afternoon 


419 — Fuchien  Incense  Burner  {Ming) 

Cauldron-shape,  after  the  ancient  bronze  pattern,  with 
low  foot  lightly  molded  at  the  edge,  rim  lightly  flaring, 
and  two  loop-and-drop  handles  in  dragon-form.  One 
of  the  finest  pieces  of  this  ware,  with  a  perfect  glaze 
of  the  highest  quality,  and  rare  charm  in  its  color  tone 
of  soft  and  even  creamy  note.  At  bottom  of  interior, 
three  spur  marks.  Carved  and  pierced  ebony  stand. 

Diameter,  4%  inches. 


420 — Zu-chou  Vase  {Sung) 

An  ovoid  jar  with  flat  foot,  short  neck  and  everted  lip, 
with  plain,  undecorated  surface  clothed  in  a  cream  glaze 
of  dull  lustre  and  threaded  by  an  all  but  invisible  hair¬ 
line  crackle.  Lip  and  interior  glazed  in  dark  brown. 
(Slight  restoration  at  lip.) 

Height,  13%  inches. 


421 — T’u  Ting  Bottle  {Sung) 

Spherical  with  large  foot,  and  full,  somewhat  tapering 
neck.  Lustrous  cream  glaze,  crackled  throughout,  the 
crackle  sometimes  delicate  and  in  self-color,  again  bold 
and  in  cafe-au-lait  tone.  Beneath  the  glaze  is  a  con¬ 
ventional  lotus  decoration,  lightly  incised  in  the  paste, 
and  covering  the  body  between  a  lotus  border  at  the 
foot  and  a  spiral  scroll  border  which  is  followed  by  a 
keyfret  border  on  the  shoulder.  On  the  neck  an  archaic 
dragon  pursuing  the  jewel  is  modeled  in  relief,  below  a 
lip  border  of  incised  keyfret.  Carved  and  pierced  teak- 
wood  stand. 


Height,  15]/g  inches. 


Third  and  Last  Afternoon 


•122 — Fuchien  Statuette  (Ming) 

A  highly  important  figure,  of  the  finest  workmanship  in 
modeling,  and  preserved  in  a  rare  state  of  perfection, 
not  even  a  finger  tip  being  damaged.  A  standing  figure 
of  Kuan-yin  on  a  conventional  base  of  rockery,  with  one 
bare  foot  exposed,  and  graceful  hands  lightly  extended 
in  front  of  her,  the  left  touching  the  wrist  of  the  right. 
Her  folded  robes  sway  easily  and  her  cowl  hangs  as  a 
flexible  drapery  over  her  shoulders.  She  wears  the  tiara, 
and  looks  down  with  an  aloof  yet  S3mipathetic  benignity, 
an  expi’ession  of  calm  encouragement.  Fine  glaze  of 
soft  brilliancy,  in  the  richest  of  creamy  white.  Carved 
teakwood  stand. 

Height,  20  inches. 

(Illustrated) 


422a — Lapis-blue  Jardiniere  with  Stand  (Ming) 

Circular,  with  shallow  ovoidal  contour,  and  shoulder 
rounded  in  and  flattened;  plain  lip.  Brilliant  glaze  of 
rich,  deep  and  glowing  lapis-lazuli  blue.  On  a  low  cir¬ 
cular  table-stand  with  blossom  ornamentation,  clothed  in 
a  rich  and  brilliant  aubergine  glaze  with  delicate  crackle 
and  metallic  lustre,  lightly  flowed  over  with  a  grayish- 
white  and  bluish  frosting  in  the  transmutation  furnace. 

Diameter,  10%  inches. 


422b — Turquoise-blue  Jardiniere  (Ming) 

Circular,  with  ovoidal  contour  and  flat  bottom,  and 
molded  lip.  Encircled  by  two  rings  of  bosses  studding 
two  incised  rings.  Richly  mottled  turquoise-blue  glaze 
with  dull  lustre. 


Diameter,  13%  inches. 


No  422— FUCH1EN  STATUETTE 


Third  and  l.ast  Afternoon 


4253 — Celadon  Plant  Jar  (Ming) 

Ovo-cylindrical,  rounding  in  slightly  at  the  bottom,  with 
lip  turned  inward;  three  short  cabriole  legs,  the  knees 
modeled  with  blossoms.  Two  broadly  incised  rings  en¬ 
circle  the  body  at  the  base,  and  a  light  molding  is  de¬ 
fined  below  the  lip,  while  about  the  centre  is  a  scroll 
decoration  lightly  executed  in  the  paste.  Brilliant  cela¬ 
don  glaze  with  a  metallic  lustre,  and  a  bold  crackle  in 
cafe-au-lait  lines.  (Kiln  crack  in  bottom.)  Carved  teak- 
wood  stand. 

Diameter,  12%  inches. 


424 — Celadon  Tripod  Fish  Bowl  (Ming) 

Broad  and  shallow  ovoidal  form,  the  body  slightly  con¬ 
tracted  for  a  short  space  below  the  rounding  and  everted 
lip;  the  short  legs  in  tapering  stump  form  but  modeled 
with  animalistic  features  in  palpable  relief  at  the  knees. 
Stoneweight  porcelain,  with  a  softly  luminous  celadon 
glaze  of  fine  sea-green,  boldly  crackled  and  exhibiting  a 
metallic  lustre  in  sunset  hues,  over  a  peony  decoration 
broadly  modeled  in  the  paste.  Finely  carved  teakwood 
stand. 

Diameter,  15%  inches. 


425 — Large  Celadon  Plaque  (Ming) 

Circular,  with  ovoidal  cavetto  and  narrow  marly  with 
rising  lip ;  the  inner  sides  of  the  cavetto  lightly  fluted, 
and  the  medallion  of  the  bottom  showing  a  faint  orna¬ 
mentation  in  the  paste.  Sonorous,  heavy  porcelain,  with 
a  brilliant  glaze  of  rich  sea-green  tone.  Six-legged 
dragon-table  teakwood  stand. 


Diameter,  18%  inches. 


Third  and  Last  Afternoon 


426 — Large  Celadon  Plaque  (Ming) 

Circular,  with  bold  foot,  shallow  and  broad  ovoidal  ca- 
vetto,  and  narrow  flaring  marly  with  festooned  lip. 
Stoneweight  porcelain,  the  sides  of  the  cavetto  petal- 
fluted,  the  bottom  plain,  and  the  whole  clothed  in  a  rich 
celadon  glaze  of  grayish  sea-green  varying  from  the 
plain,  limpid  and  pure  to  the  deeper  tones  of  agitation. 
Carved  teakwood  stand. 

Diameter,  18%  inches. 


427 — Ming  Celadon  Plaque  on  Ch’ien-lung  Teakwood 
Stand 

Plaque  with  shallow  ovoidal  cavetto  and  narrow  flaring 
marly,  and  bold  foot.  The  surface  of  the  bottom  is 
incised  with  a  floral  decoration,  and  the  marly  carries 
an  incised  scroll  border.  Brilliant  celadon  glaze  in  pale 
grayish  sea-green  of  uniform  tone. 

The  stand  shows  a  recumbent  elephant  on  an  oblong 
base  richly  carved,  with  a  vase  on  his  back  which  sup¬ 
ports  a  plain  column  leading  to  the  plaque-support.  The 
elephant  wears  trappings  modeled  in  relief  and  a 
lacquered  saddle-cloth,  and  the  vase  is  lacquered  and 
penciled  in  gold  with  a  lotus  ornamentation. 

Diameter  of  plaque,  l(i  inches;  height  with  stand,  46%  inches. 


428 — Ming  Celadon  Plaque  on  Ch’ien-lung  Teakwood 
Stand 

Circular  plaque  with  ovoidal  cavetto  fluted  in  slender 
petal  form,  and  narrow  plain  marly  with  upturned  lip; 
at  the  centre  of  the  bottom  a  vague  ornamentation  in¬ 
cised  and  modeled  in  the  paste.  Brilliant  glaze  of  fine 
sea-green  tone. 

The  stand  is  a  companion  to  that  in  the  preceding  lot. 
Diameter  of  plaque,  15%  inches:  height  with  stand,  46%  inches. 


Third  and  Last  Afternoon 


CHINESE  BRONZE 

429 — Gilt  Bronze  Incense  Burner  {Ming) 

In  form  of  a  duck,  standing,  its  head  raised  and  turned 
to  its  left,  with  bill  open.  Feathers  incised,  with  wing- 
tips  in  relief  and  rising  free.  The  whole  upper  body 
gilded  and  in  places  showing  a  brownish  patina,  the  under¬ 
body  and  feet  black. 

Height,  5%  inches. 


430 — Bronze  Statuette  {Ming) 

Standing  figure  of  Daruma,  arms  folded  within  priestly 
robes,  and  holding  a  projecting  scroll.  His  robes  are 
bordered  with  incised  embroideries  in  lotus  motive.  His 
head  is  turned  sharply  to  his  left,  and  features  and  ex¬ 
pression  are  strong  and  vigorous.  Soft  dark  brown, 
black,  and  greenish-bronze  patina. 

Height,  7%  inches. 


431 — Gilt  Bronze  Statuette  {T’ang) 

Standing  female  Buddhistic  figure,  tall  and  slender ;  cast 
solid,  and  gilded  throughout.  Both  arms  are  extended 
from  the  elbow,  the  right  hand  being  raised  palm-outward 
directly  before  her  breast,  and  the  left  hand  held  at  a 
higher  level,  palm  upward.  The  face  is  of  benign  ex¬ 
pression  and  almost  smiling.  She  wears  a  high  headdress 
and  tiara,  and  the  elaborate  jewels  draping  her  bared 
breast  and  back,  and  clinging  in  pendants  about  her 
skirt  are  in  relief.  In  places  a  blackish  patina  from  in¬ 
cense  fumes.  On  old  Japanese  carved  lacquer  stand. 

Height,  14  inches;  with  stand,  17y2  inches. 

{Illustrated) 


No.  431— GILT  BKONZE  STATUETTE 


Third  and  Last  Afternoon 


432 — Bronze  Incense  Berner  (Ming) 

In  form  of  a  heron,  seated  on  an  inverted  lotus  leaf. 
One  wing  is  extended,  and  under  it  the  bird  reaches  up 
with  one  foot  to  scratch  its  neck.  Its  head  is  directed 
straight  upward,  with  beak  open,  and  certain  feathers 
at  the  top  of  its  back  are  raised  for  the  emergence  of 
the  incense  fumes.  The  plumage  is  in  relief  and  incised. 
The  lotus  leaf  is  naturalisticallv  veined,  and  perforated 
in  representation  of  the  work  of  insects.  Rich  brown 
patina. 

Height,  10%  inches. 


433 — Pewter  Stati/ette  (Ch’ien-lung) 

Standing  female  figure  on  a  hexagonal  base.  The  upper 
body  bends  slightly  forward,  as  she  inclines  her  head 
to  her  left  and  looks  downward,  and  in  her  left  hand  she 
holds  a  fly  whisk,  while  the  right  hand  is  raised.  That 
part  of  her  apparel  left  in  the  pewter  is  covered  with  a 
patina  of  soft  greenish-gray,  the  rest  is  decorated  in 
polychrome  in  Mitsuda  lacquer  painting,  with  gold.  The 
base  is  adorned  in  relief  and  pierced. 

Height,  177/8  inches. 


LACQUER  BOXES  AND  PANELS 

434 —  Lacquer  Manuscript  Box  (Ming) 

Oblong,  with  hinged  cover;  brass  bound.  Top  in  black 
lacquer,  inlaid  in  brass  with  formal  corners  and  a  figure 
medallion ;  sides  of  brown  basketry ;  interior  in  vermilion 
lacquer. 

Length,  15  inches. 

435 —  Lacquer  Inlaid  Long  Box  with  Cover  (Ming) 
Black  lacquer,  mounted  in  brass,  and  the  top  inlaid  in 
brass  with  a  pavilion  from  which  ladies  look  out  upon 
feats  of  archery  which  arouse  enthusiasm.  Interior  in 
vermilion  lacquer. 


Length,  26%  inches. 


Third  and  Last  Afternoon 


436— Lacquer  Leather  Box  with  Cover  ( Ch'ien-lung ) 

Oblong,  the  cover  enclosing  the  entire  box,  which  rests 
on  sewn  leather  feet,  one  of  coin  design  at  the  center 
and  four  corner  feet  of  butterfly-spread.  Lacquered  in 
soft,  dark  red,  with  decoration  in  rich  gold.  On  top  of 
cover  a  lake  and  mountain  landscape  with  palaces  and 
pagodas,  and  figures  ashore  and  in  boats,  and  at  the 
centre  a  medallion  with  figures  and  pavilions.  On  a 
peak  high  at  the  left  three  ideographs.  Around  all  sides 
of  the  cover  a  lattice  decoration,  and  in  the  interior  floral 
sprays.  Around  the  box  a  swastika  lattice. 

Length,  2!) %  inches. 


437 — Black  Lacquer  Inlaid  Trunk  (Ming) 

Rectangular,  with  brass  mounting;  brass  bail  handles. 
Cover  top  painted  in  soft  colors  with  sprays  of  flowers 
and  fruit,  including  carnations  and  chrysanthemums,  and 
cherry  blossoms.  Front  similarly  painted  with  flowers, 
birds  and  butterflies,  enhanced  by  inlays  of  mother-of- 
pearl,  and  at  the  ends  are  painted  blossoming  camellias, 
with  the  bamboo  painted  and  inlaid  above  them. 

Length,  .'51  y,  inches. 


No.  438 

THE  PHILOSOPHER 

Height,  19%  inches;  width,  13%  inches 

Lacquer  panel  in  a  warm,  rich  seal-brown,  painted  in  black  and 
red  lacquer  and  gold.  Ming.  Full-length  portrait  of  a  tall 
and  large-featured,  distinguished-looking  man,  seated  on  a 
broad  settee,  facing  the  spectator,  his  head  turned  slightly 
toward  his  right.  At  his  elbow  stands  a  jardiniere  filled  with 
plants,  and  a  basket  of  peonies  hangs  above  his  head.  From 
the  left  an  attendant  approaches,  carrying  something. 


Third  and  Last  Afternoon 


No.  439 
PLAYING  GO 

Height,  16%  inches;  ■width,  16y,  inches 

A  brown  lacquer  panel  inlaid  with  mother-of-pearl  and  painted 
with  nashiji  lacquer.  Ming.  On  the  right,  at  a  low  rock 
table  on  a  bluff  overlooking  the  sea,  two  sages  are  seated,  play¬ 
ing  Go,  and  a  third  stands  looking  on.  In  the  foreground  an 
attendant  advances  with  scrolls,  his  attention  distracted  for 
the  moment  by  the  approach  of  a  fourth  sage  from  the  left, 
who  is  directing  his  own  attendant  to  the  Go  table.  Bamboo 
and  pine  trees  grow  at  either  hand,  and  in  the  distance  are 
mountains,  on  the  farther  side  of  the  water. 


440 — Mitsuda  Lacquer  Panel  (Ming) 

In  blue,  green,  rose,  yellow  and  gold  on  a  dark  vermilion 
ground.  In  the  foreground  trumpeters  and  drummers 
proclaim  an  approach.  In  the  middle  distance  a  man 
moves  slowly  forward  sheltered  by  a  canopy  borne  by 
an  attendant,  followed  by  two  men  bearing  ducks  on  sal¬ 
vers,  while  back  of  them  a  personage  with  attendants  is 
about  to  descend  the  steps  of  a  palace,  and  two  ladies 
look  on.  In  the  distance  are  mountains  and  trees.  On 
the  reverse  a  tall  lotus  plant  in  bloom. 

Height,  28%  inches:  width,  9%  inches. 

( Illustrated) 


441 — Mitsuda  Lacquer  Panel  (Ming) 

A  companion  to  the  preceding.  Its  adornment,  the  “Hun¬ 
dred  Boys”  at  play  at  various  games,  and  imitating 
their  elders  in  the  study  of  a  scroll.  On  the  reverse, 
swallows  perched  on  the  drooping  branch  of  a  tree  in 
blossom. 

Height,  27%  inches:  width,  9%  inches. 

(Illustrated) 


440  441 

MITSUDA  LACQUER  PANELS 


_ 


Third  and  Last  Afternoon 


442 — Mitsuda  Lacquer  Long  Box  with  Cover  ( Ming ) 

On  top  of  cover,  in  the  foreground  a  horseman  accom¬ 
panied  by  his  umbrella  bearer  approaches  along  a  rock 
bordered  way,  a  garden  in  which  nobles  are  assembled, 
before  an  open  pavilion  where  a  person  of  importance 
is  being  served  with  tea  or  wine,  which  projects  in  the 
middle  distance.  All  in  soft  and  mellowed  colors  and 
gold  on  a  rich  and  dark  vermilion  ground.  Around  the 
sides,  birds  and  flowers. 

Length,  26  inches. 


443 — Mitsuda  Lacquer  Long  Box  with  Cover  ( Ming ) 

Extensive  decoration  in  soft  polychrome  with  touches 
of  gold,  on  a  rich  vermilion  ground.  On  the  top  appear 
numerous  figures,  afoot  and  on  horseback  and  in  pa¬ 
vilions,  with  some  elaboration  of  ceremony,  and  in  the 
middleground  are  storks  and  spotted  deer,  while  in  the 
distance  are  pine  trees  and  mountains.  Around  the 
sides  are  birds  and  flowers,  and  in  the  interior  more 
blossoms. 

Length,  28  inches. 


444 — Mitsuda  Lacquer  Panel  {Ming) 

Painted  in  soft  reds,  browns,  grays  and  bluish-greens, 
and  gold,  on  a  dark  brown  ground,  with  a  landscape  of 
summer  palaces  among  the  mountains,  figures  indoors 
and  out,  some  on  a  bridge,  and  a  man  in  a  boat  on  a  lake. 
On  the  reverse,  Taoist  immortals  and  attendants  await 
the  descent  of  Shou-lao  on  a  stork,  done  in  gold. 

Height,  18y2  inches;  length,  21  inches. 


Third  and  Last  Afternoon 


A  COLLECTION  OF  CHINESE  PANEL  PICTURES 
AND  BOXES  PAINTED  IN  VEGETABLE  COLORS 
IN  OILS,  ON  LACQUER 

All  of  the  Ming  Period.  Known  to  the  Japanese  as  Mitsuda 
Lacquer  Paintings 

No.  445 

DANCING  BEFORE  THE  EMPEROR 

Height,  13%  inches;  length,  14  inches  (each) 

A  pair  of  cabinet  doors,  picturing  a  garden  scene  in  the  late 
afternoon  in  rich  colors  and  gold  on  a  black  ground.  On  the 
right  the  Emperor  is  seated  before  a  great  screen,  watching 
a  young  woman  dancing  on  a  mat  in  front  of  him  to  the  music 
furnished  by  other  young  women  standing  nearby,  while  im¬ 
mediately  at  his  hand  attendants  are  ready  with  refreshments. 
On  the  left  the  Empr  ess  and  attendants,  holding  her  man-child 
on  her  arm,  emerges  from  a  pavilion  for  a  distant  glimpse  of  the 
scene,  and  other  figures  are  to  be  seen  just  within  the  houses 
on  either  side,  one  watching  the  antics  of  a  lively  cat. 

No.  446 

A  NOBLEMAN’S  PRIVATE  GARDEN  PARTY 

Height,  1 5 ’/,  inches;  width,  14%  inches 

Seated  augustly  on  a  spacious  settee,  backed  bv  a  golden 
screen,  a  mandarin  faces  the  spectator  from  the  centre  of  the 
composition,  in  a  palace  garden,  the  summer  pavilions  of  the 
palace  forming  a  pleasing  architectural  group  about  him,  and 
pendent  branches  of  unseen  trees  just  swaying  into  the  picture 
overhead.  At  his  either  hand  the  young  beauties  of  his  estab¬ 
lishment  approach  deferentially  and  bearing  offerings,  on  the 
terrace,  which  is  bounded  by  a  rambling  balustrade.  Painted 
in  black,  brown,  blue,  green,  scarlet  and  gold,  on  a  dark  ver¬ 
milion  ground. 


Third  and  Last  Afternoon 


No.  447 

A  MOUNTAIN  PALACE  IN  SUMMER 

Height,  17%  inches;  length,  19 y2  inches 

In  rich,  soft  colors,  and  gold,  on  a  black  ground.  The  moun¬ 
tainsides  are  green,  a  soft  bluish  green,  in  the  fulness  of  the 
season,  and  encircle  a  cool  lake  in  which  a  pair  of  storks  stand 
leg  deep  in  the  water.  Nestling  about  the  lake,  in  the  embraces 
of  the  great  cliffs,  are  the  various  buildings  of  a  Chinese  sum¬ 
mer  palace,  with  people  seen  within  and  outside  them.  On 
the  reverse  of  the  panel  a  landscape  with  figures  is  painted 
in  gold. 


No.  448 

FEEDING  THE  BIRDLINGS 

Height,  2iy2  inches;  width,  12 y2  inches 

A  table  screen  with  permanent  stand,  the  obverse  painted  in 
neutral  notes  of  brown  and  green,  and  a  dull  vermilion,  on  a 
rich  black  ground,  with  a  pair  of  swallows  coming  with  food 
in  their  bills  to  their  nest  of  young  at  the  flower-bordered  edge 
of  a  bamboo  thicket. 


No.  449 

AN  EMPEROR’S  REPAST 

Height,  20%  inches;  width,  14yg  inches 

In  polychrome  and  gold  on  a  vermilion  ground.  Seated  near 
the  center  of  the  composition,  on  a  garden  balcony  opening 
from  the  palace,  an  Emperor  is  portrayed  enjoying  in  august 
aloofness  the  attentions  and  services  of  a  retinue  of  his  beauti¬ 
ful  young  women.  One  plays  the  lute  befoi’e  him,  and  others 
bring  wine  and  cakes,  approaching  at  his  either  hand.  In 
the  background,  ladies  look  out  from  the  windows  of  palace 
wings,  beyond  weeping  willow  trees. 


Third  and  Last  Afternoon 


No.  450 

THE  WILLOW  TREE 

Height,  18%  inches;  length,  20%  inches 

In  colors  and  gold  on  a  black  ground.  The  foreground  borders 
an  arm  of  the  sea,  and  is  lined  with  summer  houses  and  pa¬ 
vilions,  from  small  detached  shelters  to  a  considerable  group 
of  buildings,  tea  houses  and  resting  houses,  clustered  on  the 
right.  Before  the  nearest  one  rises  a  weeping-willow  tree,  be¬ 
neath  which  people  are  standing  and  seated,  enjoying  the 
landscape  on  a  summer  day.  Out  in  the  stream  are  sampans, 
and  other  people  appear  in  shelters  or  seated  on  the  ground 
in  other  parts  of  the  landscape. 


No.  451 


GROUP  OF  LANDSCAPE  AND  FIGURE  PANELS 

Height,  22%  inches;  width,  13%  inches  (each) 

Set  of  four  cabinet  door  panels,  painted  in  rich  colors  and 
gold  on  a  pure  vermilion  lacquer  ground.  The  scenes  vary, 
a  different  arrangement  being  used  in  each  panel,  and  the 
compositions  include  gardens  and  people  boating,  an  equestrian 
and  people  enjoying  themselves  with  music,  other  persons  con¬ 
versing  out  of  doors  or  looking  out  from  the  windows  of  pa¬ 
vilions,  and  in  the  background  hills. 


No.  452 

LANDSCAPE  AND  ARCHITECTURE 

Height,  28%  inches;  width,  15%  inches  (each) 

A  pair  of  cabinet  doors,  painted  in  gold  and  colors  on  a  dark, 
blackish-brown  ground,  with  a  landscape  of  mountain  and 
lake  and  pine  trees,  walled  castles  with  pennants  flying  above 
them,  palaces  with  figures  in  and  about  them,  and  other  figures 
in  boats  and  crossing  bridges. 


Third  and  Last  Afternoon 


No.  453 

LAKEFRONT  LANDSCAPE  WITH  SUMMERHOUSES 

Height,  15%  inches;  length,  28  inches 

In  colors,  with  touches  of  gold,  on  a  black  ground.  A  broad 
lake,  sweeping  across  the  picture,  is  bordered  by  rugged  and 
variously  broken  mountains  in  the  background,  outlying  rocks 
rise  above  its  surface,  and  in  the  middle  distance  a  small  boat 
is  moving  slowly.  On  the  hithershore  a  summer  house  oc¬ 
cupies  a  table-land  near  the  centre  of  the  foreground,  and 
figures  are  variously  disposed  within  and  about  it.  On  the 
right  two  women  are  standing  near  a  stork,  and  on  the  left 
men  are  crossing  an  arched  bridge  at  a  lower  level. 


No.  454 

THE  GATHERING  OF  THE  CONNOISSEURS 

Height ,  21  inches:  length,  22%  inches 

On  a  garden  terrace,  among  the  trees,  and  in  the  wings  and 
open  pavilions  of  a  palatial  summer  residence  adjacent,  over¬ 
looking  a  lake,  connoisseurs  and  scholars  assemble  to  study 
their  host’s  treasures  and  exhibit  for  exchange  of  comment 
their  own  possessions.  The  figures  appear  in  varied  notes  of 
vermilion,  blue,  green  and  brown,  and  rocks  of  the  foreground 
in  gold,  on  a  black  ground.  On  the  reverse,  studious  motives 
continue,  with  figures  grouped  among  rocks  and  a  stork  flying 
overhead. 


Third  and  Last  Afternoon 


No.  455 

LAKE  OF  THE  MOUNTAINS 

Height,  25 y2  inches ;  length,  27%  inches 

In  soft  vermilions,  greens  and  browns,  with  gold,  on  a  blackish- 
brown  ground.  Lofty  peaks  and  lesser  cones  in  irregular 
ranges  surround  a  large  lake,  on  whose  shores  are  residences 
large  and  small,  with  still  others  back  in  the  valleys,  and  on 
the  right  in  the  middle  distance  a  pagoda.  Conspicuous  in 
the  foreground  is  a  spacious  palace,  on  whose  balcony  and 
within  whose  open  rooms  numerous  figures  appear.  On  the 
reverse  are  immortals  in  converse,  with  the  emblematic  stork 
and  spotted  stag  adding  to  the  picture. 


No.  456 

WINE  CUPS  AND  POEMS 

Height,  20  inches:  length,  22  inches 

A  painting  in  gold  and  color  on  a  rich  dark  brown  back¬ 
ground,  commemorating  a  favorite  literary  diversion,  at  gar¬ 
den  party  or  less  formal  function,  the  writing  of  poems  or 
poetical  lines  and  placing  them  in  lacquer  wine  cups  and 
setting  them  adrift  in  a  stream.  When  two  cups  meet,  at  the 
whim  of  the  currents,  they  are  recovered  and  the  poems  or 
lines  read  in  conjunction.  If  the  fortuitous  conjunction  be 
happy,  the  greater  the  pleasure  of  the  company.  Here  a  ser¬ 
pentine  brook  courses  through  a  rock-bound  and  blossoming 
gai’den,  and  people  are  seated  on  either  bank,  composing 
their  poems  or  watching  for  the  drifting  cups,  while  other  per¬ 
sons  are  assembled  near  summer  houses.  At  the  upper  left  an 
inscription.  On  the  reverse  a  landscape  with  figures  and  in¬ 
scription,  in  gold. 


Third  and  Last  Afternoon 


No.  457 

AN  OFFICIAL  VISIT 

Height,  19%  inches;  width,  16%  inches;  height  in  stand,  26%  inches 

Panel  of  a  table  screen  (with  its  stand),  painted  in  poly¬ 
chrome  and  gold  on  a  dark  brown  ground.  In  the  foreground, 
approaching  from  the  right,  a  company  of  warriors  with 
horses  follow  two  personages  who  are  about  to  cross  a  foot 
bridge,  preceded  by  two  attendants  afoot.  A  horseman  and 
another  figure  appear  coming  down  a  precipitous  mountain 
path  behind  the  company.  At  the  left,  figures  appear  in 
and  before  a  palace,  waiting  to  receive  the  visitors,  and  in 
the  background  is  a  varied  seaside  landscape.  On  the  reverse, 
flowers  and  birds. 


No.  458 

THE  DESCENT  OF  SHOU-LAO  TO  VISIT 
THE  EMPRESS 

Height,  24%  inches;  length,  26%  inches 

In  color  and  gold  on  black.  On  a  high  balcony  projecting 
from  a  palace  among  the  mountains,  on  the  left,  the  Empress 
and  her  women  attendants  are  standing,  in  the  foreground, 
one  of  the  attendants  bearing  a  dish  of  the  peaches  of  the 
immortals.  On  the  right,  floating  down  from  the  sky  on  the 
back  of  a  phoenix,  the  Empress’s  emblem,  is  the  god  of  lon¬ 
gevity,  coming  straight  for  the  balcony,  from  an  edge  of  which 
a  stork,  his  courier,  looks  up  at  him.  On  the  reverse  a  view 
of  the  West  Lake  country,  with  architecture  and  figures. 


Third  and  Last  Afternoon 


No.  459 

PHILOSOPHERS  AT  STUDY 

Height,  39%  inches;  width,  17%  inches 

Seated  and  standing  at  the  foot  of  a  cliff  and  under  an  over- 
hanging  willow  ti'ee,  in  a  gai'den,  a  group  of  sages  ai'e  pro¬ 
foundly  pondering  a  sci’oll  on  which  the  symbol  of  life  ap¬ 
pears.  Through  a  passage  between  the  cliffs  another  figure 
appi’oaches,  bearing  an  incense  burner.  In  soft  coloi's,  with 
touches  of  gold,  on  a  black  ground.  The  reverse  pictures 
an  official  visit,  in  an  extensive  landscape. 


No.  460 

IN  THE  TAOIST  PARADISE 

Height,  39%  inches;  width,  17%  inches 

On  a  high  shelf  of  rock  overlooking  a  vast  unknown,  with  a 
background  of  towering  cliffs  on  the  right,  and  tortuous  trees, 
a  group  of  figui'es  are  gathered,  awaiting  the  arrival  of  Shou- 
lao  who  is  seen  descending  from  on  high  on  the  back  of  a 
stork.  One  of  the  group  stands  beside  a  stag  which  looks 
up  toward  the  coming  god;  the  others  hold  up  as  they  look 
in  the  same  direction  wine  and  peaches  and  an  incense  burner. 
In  soft  tones,  with  touches  of  gold,  on  black  ground.  On  the 
reverse,  a  landscape  with  figures  and  architecture. 


Third  and  Last  Afternoon 


No.  461 

GEN.  CHANG  - 

Height,  44  inches;  width,  1 A %  inches 

In  neutral  colors  with  dustings  of  gold  on  a  brilliant  black 
ground.  Mountain  cliffs  and  table-lands,  with  indications  of 
buildings,  and  various  trees,  in  bold  arrangement,  extend  far 
into  a  nebulous  background.  On  a  road  in  the  foreground  a 
warrior  on  a  charger,  attended  by  a  man-at-arms  afoot,  ap¬ 
proaches  the  direction  of  the  spectator,  passing  a  man  seated 
and  a  solicitous  beggar  kneeling  on  the  ground.  On  the  re¬ 
verse,  a  monkey  seated  on  a  branch  of  a  tree. 


No.  462 

A  VISIT  FROM  THE  EMPEROR  MU  WANG 

Height,  44%  inches;  width,  19%  inches 

The  rich  and  brilliant  buildings  of  a  palace  come  variously 
into  the  picture  from  the  left,  in  vermilion  and  orange  and 
dark  green,  and  in  the  background  dark  olive  mountains 
tower.  On  a  garden  balcony  of  the  palace,  in  the  foreground, 
the  famous  Chou  Emperor  with  two  attendants  approaches  a 
portal  where  one  door  is  swung  open,  and  a  man  kneels  before 
him  on  the  porch.  Brilliant  black  background.  On  the  re¬ 
verse  a  clump  of  young  bamboo  and  a  shrub  in  flower,  and  two 
playful  cats,  one  of  which  has  caught  a  butterfly. 


Third  and  Last  Afternoon 


No.  463 

BIRDS  AND  FLOWERS 

Height,  52  inches;  width,  17%  inches  (each) 

A  pair  of  doors,  painted  in  rich  polychrome  and  gold  on  a 
deep  black  ground,  one  with  two  birds  at  the  top  of  a  blos¬ 
soming  plum  tree  and  another  bird  and  blooming  camellias 
below,  and  the  other  with  a  different  floral  group  and  a  pair 
of  blue-winged  and  blue-tailed  birds  on  the  ground. 


No.  464 

STILL  LIFE— FLOWERS 

Height,  52  inches;  width,  17%  inches  (each) 

Still  life  paintings  of  flowers,  with  birds  and  butterflies  add¬ 
ing  color  and  animation,  on  a  pair  of  black  lacquer  doors,  the 
paintings  picturing  chrysanthemums,  begonias  and  other 
plants,  and  mandarin  ducks  on  one  panel  and  quail  on  the 
other,  in  delicate  pinks,  white,  blue,  green  and  gold. 


No.  465 

BIRDS  AND  FLOWERS  ON  A  PAIR  OF  DOORS 

Height,  55%  inches;  width,  16%  inches  (each) 

Paintings  of  still  life  and  animate  nature,  and  of  the  imagi¬ 
nation,  executed  in  rich  colors  delicately  softened,  and  re¬ 
lieved  by  gold,  on  a  hard  wood  ground  that  has  been  given  a 
mahogany  tone  by  a  single  thin  lacquer  wash — instead  of  being 
coated  with  a  foundation  first,  as  is  customarily  done  in 
lacquer  painting.  The  floral  representations  include  luxuriant 
lotuses  and  a  magnolia  tree,  peonies  and  the  Chinese  plum,  and 
the  birds,  mandarin  ducks  and  song  birds  and  the  fabulous 
phoenix. 


Third  and  Last  Afternoon 


No.  466 

LOTUS  AND  PEONY,  THE  PHCENIX  AND  THE 
MANDARIN  DUCK 

Height,  54%  inches;  width,  18  inches  {each) 

Paintings  on  a  pair  of  doors  with  a  deep  brown  ground,  on 
which  are  depicted  flourishing  peonies  and  opening  lotus  flow¬ 
ers,  peach  blossoms  and  yet  other  blooms,  and  on  one  panel 
a  pair  of  phoenixes  and  on  the  other  mandarin  ducks,  all  richly 
painted  in  deep  soft  colors,  enhanced  by  delicate  pencilings 
of  gold. 


No.  467 

OUTDOOR  LIFE  IN  ANCIENT  CHINA 

Height,  78 %  inches;  width,  15%  inches  (each) 

A  pair  of  tall  door  panels,  picturing  in  low,  rich  tones  and 
with  the  use  of  gold,  on  a  black  background,  landscapes  with 
mountains  and  streams,  garden  rockery  and  various  trees, 
and  numerous  people  engaged  in  placidly  or  actively  enjoying 
themselves. 


No.  468 

A  FLORAL  GATEWAY 

Height,  68%  inches;  width ,  82  inches 

A  rectilinear  arch,  the  span  skirted  with  scrolls,  which  formed 
one  of  the  four  sides  of  an  elaborate  Chinese  bed — the  entrance 
gate.  The  entire  face  of  the  arch  is  taken  up  with  relief 
panels  of  different  shapes,  in  brilliant  black  lacquer  on  a 
dull  vermilion  ground,  the  panels  painted  in  colors  and  gold 
with  a  rich  varietj'  of  flowers  and  birds. 


Third  and  Last  Afternoon 


469 — Large  Lacquer  Wall  Panel  {Ming) 

Painted  in  black  and  gold  on  a  dark  vermilion  ground 
with  sundry  followers  of  Confucius,  a  procession  of  eight 
of  them  headed  to  the  left  being  seen  among  cloud  scrolls, 
with  one  bearing  an  enormous  banner,  the  others  carry¬ 
ing  various  objects,  one  apparently  a  scroll  and  four 
seemingly  boxes  for  the  preservation  of  scrolls  or  kake¬ 
mono. 

Height,  33%  inches;  length,  40 %  inches. 

469a — Large  Lacquer  Wall  Panel  {Ming) 

Companion  to  the  preceding,  the  figures  here  numbering 
seven  and  heading  toward  the  right,  and  the  banner 
bearer  being  replaced  bv  a  figure  carrying  ceremoniously 
a  long  sword. 


COLOR  AND  BLACK  AND  WHITE  PRINTS 

470 —  Chinese  Color  Print  {Ming) 

In  the  center  the  god  of  happiness  seated  facing  full  to 
the  front,  around  him  officers  of  heaven  coming  asking 
for  the  boon  of  happiness,  and  the  devil  and  others 
bringing  propitiatory  gifts;  in  brilliant  color. 

Height,  23  inches;  width,  11  inches. 

471 —  Chinese  Color  Print  from  Wood  Block  {Probably 

K’ang-hsi) 

In  various  soft  colors.  A  composition  representing  a 
traditional  event  of  the  days  of  the  T’ang,  picturing  a 
great  warrior  who  was  so  skilful  with  the  bow  that  he 
could  shoot  and  hit  with  an  arrow  swords  as  fast  as 
another  warrior  could  throw  them  into  the  air.  So 
ardent  was  his  spirit  that  his  skill  and  prowess  won 
the  aid  of  the  god  who  watches  from  on  high.  From 
the  right  the  emperor  and  his  entourage  look  on  from 
his  castle. 


Height,  1414  inches;  length.  22%  inches. 


Third  and  Last  Afternoon 


47*2 — Japanese  Black  and  White  Print  (Kamakura) 

Representing  Fudo,  god  of  fire,  enthroned  and  haloed, 
and  served  by  two  attendants  standing  before  him. 

Height,  22%  inches;  width ,  10%  inches. 

473 —  Chinese  Lithograph  ( Probably  K’ang-hsi) 

Tall  panel  presenting  a  sage  in  blue  and  red  with  his 
hand  on  the  head  of  a  red  and  green  dragon,  among 
clouds,  against  a  black  background. 

Height,  34  inches;  width,  11%  inches. 

474 —  Chinese  Black  and  White  Lithograph  (Sung) 

The  stone  from  which  the  print  was  made  was  carved 
after  a  composition  by  Wu  Tao-tzu  of  the  T’ang  dy¬ 
nasty,  the  design  presenting  Kuan-yin  on  a  terrace,  with 
several  attendants,  the  lotus  blooming  in  a  pond  at 
her  feet,  and  above,  imperial  dragons  guarding  the  sacred 
jewel. 

Height,  3.5 %  inches;  width,  10%  inches. 

475—  Pair  Korean  Paintings  on  Paper  (Ri) 

In  one  a  long-tailed  bird  of  brilliant  plumage  and  his 
mate  are  seated  on  the  trunk  of  a  blossoming  plum  tree, 
surrounded  by  other  flowers  in  bloom,  at  the  border  of 
an  iris  pond.  In  the  other  a  pair  of  birds  in  a  blos¬ 
soming  peony  tree  look  down  upon  ducks  swimming  in 
a  pool. 

Height,  33%  inches;  width,  15%  inches. 

476 —  Japanese  Wood  Block  Print  (Kamakura) 

In  black  and  white.  Portrait  of  the  Crown  Prince  Sho- 
toku.  The  prince  is  portrayed  at  full  length,  seated 
and  facing  the  left,  three-quarters  front,  a  table  before 
him  on  which  he  is  unfolding  a  scroll,  and  a  noble  at¬ 
tendant  with  the  traditional  sceptre  seated  on  the  floor 
at  the  corner  of  the  table.  The  prince’s  robes  are  em¬ 
broidered  in  lotus  pattern,  and  the  rug  at  his  feet  dis¬ 
plays  dragons  among  clouds. 

Height,  41%  inches;  width,  18%  inches. 


Third  and  Last  Afternoon 


477 —  Japanese  Woodcut  ( Sixteenth  century ) 

The  title  defines  it  as  picturing  the  sixteen  attitudes  of 
Buddha  in  this  life,  and  the  composition  is  elaborately 
worked  out  in  compartments  and  sections,  with  a  great 
many  figure  representations  and  a  profuse  display  of 
the  lotus  in  life  and  in  symbol,  together  with  architecture 
and  ornament.  In  blue,  yellow,  red,  black  and  white. 

Height,  +9 %  inches;  width,  22  inches. 

CHINESE  PAINTINGS  ON  SILK 

478 —  Chinese  Painting  on  Silk  (Sung) 

On  the  right  a  pine  tree  with  nude  limbs  projects  a 
gnarled  branch  leftward,  arching  broadly  over  the  figure 
of  a  seated  man  at  the  tree’s  foot.  He  has  sat  him 
down  on  the  rolling  incline  of  a  gently  sloping  hill, 
near  a  bit  of  gray-green  herbage,  and  blue-green  shrub¬ 
bery  rises  along  the  edge  of  a  steeper  slope  in  the  rear. 
The  man  is  in  robes  of  old-rose,  dull  green,  white,  brown 
and  buff,  and  they  are  pulled  open  in  the  front,  leaving 
his  chest  bare  to  the  bland  air.  He  is  bearded  and  wears 
a  cap,  and  is  depicted  gazing  upward  and  far  away,  with 
remarkable  expression.  Attributed  to  Yen  Ivung-nien, 
of  the  Sung  period. 

Height,  12  inches;  length,  15  inches. 

479 —  Chinese  Painting  on  Silk  (Yuan) 

Portrait  of  a  lady  standing  in  a  garden.  She  stands 
in  the  immediate  foreground,  facing  the  left,  three-quar¬ 
ters  front,  before  a  mound  of  rockery  beyond  which  a 
plant  of  the  ornamental  banana  lifts  its  graceful  fronds, 
two  of  them,  insect-eaten,  arching  leftwards  over  the 
picture.  The  lady  is  appareled  in  easily  flowing  robes 
in  soft  tones  of  brown  and  red,  blue  and  green,  and 
her  luxuriant  black  hair  is  bound  in  colors.  Her  face 
is  of  broad,  ample  and  placid  mold,  and  she  gazes 
somewhat  downward  in  front  of  her,  one  graceful  hand 
slightly  extended.  Height,  45 1/2  inches;  width,  15%  inches. 


Third  and  Last  Afternoon 


480 —  Chenese  Painting  on  Silk  (Sung) 

Attributed  by  a  Chinese  connoisseur,  a  former  owner,  in 
an  inscription  on  the  back,  to  the  artist  Yen  Kung-nien 
who  worked  in  the  period  of  the  Sung  dynasty.  A  paint¬ 
ing  of  stallions  washed  by  attendants  in  a  river.  One 
horse,  a  spotted  white  one,  stands  in  the  stream,  one 
man  holding  him  and  another  man  scrubbing  his  back, 
while  a  black  horse  with  white  muzzle,  mane  and  tail, 
having  had  his  bath,  is  being  led  away  by  a  single  atten¬ 
dant,  all  the  attendants  being  nude  save  for  a  loincloth. 

Height,  12  inches;  length,  34 %  inches. 

( Illustrated ) 

481 —  Chinese  Painting  on  Silk  (Yuan) 

Artist  unknown.  A  painting  of  an  interior  with  misty 
distances,  ample  spaces  and  luxurious  furnishings,  and 
many  figures.  In  the  foreground  children  to  the  number 
of  a  score  or  more  are  playing  on  the  floor,  some  with 
goldfish  in  a  bowl,  and  back  of  them  a  lady  seated  with 
a  tabouret  before  her  looks  on,  while  an  attendant  plies 
a  great  fan.  In  the  background  a  small  child  is  being 
carried  downstairs,  and  a  boy  is  climbing  over  a  balus¬ 
trade.  Height,  40  inches;  width,  19%  inches. 

482 —  Chinese  Painting  on  Silk  (Sung) 

Attributed  to  Li  Lung-mien  of  the  Sung  dynasty.  Exe¬ 
cuted  in  India  ink  and  dull  neutral  color ;  warm,  soft, 
brownish  background.  On  the  right  the  trunk  of  a  tall 
gnarled  tree  skirts  the  edge  of  the  picture,  and  before 
it,  looming  large  in  the  middleground  are  two  seated 
Lohans,  facing  the  left,  three-quarters  front,  one  holding 
a  jar  and  one  a  sceptre.  In  the  foreground  on  the  left 
one  of  the  immortals  with  his  magic  pilgrim’s  gourd 
causes  a  vapor  to  arise,  out  of  whose  clouds  in  the  upper 
atmosphere  a  dragon  glares  down,  while  a  man  standing 
at  the  right  looks  up  in  amazement  and  a  defective  at 
his  elbow,  hiding  his  face  in  his  hand,  limps  off  with 
the  aid  of  a  staff.  Height,  48  inches;  width,  21%  inches. 


Third  and  Last  Afternoon 


483 — Chinese  Painting  on  Silk  (Ming) 

By  Chiu-ying,  of  the  Ming  dynasty.  The  scene  is  a  beau¬ 
tiful  garden,  laid  out  formally  on  the  bank  of  a  swift- 
flowing  river,  with  bordering  hills  and  a  picturesque  rock 
mass  seen  in  the  background.  In  an  open  pavilion  in 
the  right  foreground  two  young  ladies  are  reading  and 
having  tea,  and  near  them,  beyond  a  blossoming  mag¬ 
nolia  and  richty  blooming  tree  peonies,  another  stands 
looking  off  over  the  water,  while  in  the  middle  distance, 
in  an  open  summerhouse  built  over  the  stream  seven 
young  women  musicians  are  giving  a  concert,  and  another 
of  their  orchestra  approaches  over  a  bridge,  followed 
by  a  small  boy.  In  soft  colors  on  a  neutral  ground. 

Height,  40 '/•>  inches ;  width,  2044  inches. 


484 — Japanese  Six-fold  Screen 

By  Yusetsu  Kaihotsu;  date,  1670.  On  a  mottled  gold 
background  of  fine,  soft  and  mellow  tone,  eight  majestic 
storks  are  sweepingly  painted  in  delicate  water  color, 
in  soft  gray  and  black  and  white,  and  red  around  the 
eyes,  in  varied  postures,  standing  on  low  lands  painted 
in  mineral  colors  (lapis  and  malachite)  and  overhung 
by  low-lying  distant  mists. 

Height,  5  feet  5%  inches;  panel  width,  22y2  inches. 


485 — Japanese  Six-fold  Screen 

By  Yusetsu  Kaihotsu;  date,  1670.  Companion  to  the 
preceding  and  similarly  executed.  In  this  screen  three 
stoi’ks  appear,  in  different  attitudes,  in  a  landscape  with 
far-reaching  pine  trees.  In  Japanese  usage  these  screens 
were  the  decorative  backgrounds  for  New  Year  and 
wedding  and  other  festal  celebrations,  the  stork  and  the 
pine  tree  being  emblematic  of  long  life  and  perpetuity. 


Third  and  Last  Afternoon 


CHINESE  TEXTILES 

486 —  Set  of  Four  Silk  Velvet  Table  Mats  ( K’ang-hsi ) 
Square  golden-yellow  field  of  rich  note,  in  conventional 
peony  design,  with  an  emerald  border  showing  a  con¬ 
ventional  lotus  pattern.  Brilliant  sheen. 

Each,  10y2  inches  square. 

487 —  Pair  Silk  Velvet  Small  Mats  (K’ang-hsi) 
Rectangular  field  with  conventional  design,  in  brilliant 
golden-yellow,  surrounded  by  a  border  of  glowing  emer¬ 
ald  with  formal  floral  patterns. 

Length,  18i/2  inches;  width,  H1/,  inches. 

488 —  Pair  Silk  Velvet  Small  Mats  (K’ang-hsi) 

An  elaborate  scroll  in  which  the  lotus  motive  and  the 
emblematic  bat  highly  conventionalized  may  be  discerned, 
occupies  the  field,  in  rich  golden  yellow  on  a  cloth-of- 
gold  ground,  and  the  border  is  in  the  key-fret  design  in 
fine  emerald-green  on  the  same  cloth-of-gold  ground. 

Length,  22 y3  inches;  width,  21  inches. 

489 —  Pair  Silk  Velvet  Pillows  (K’ang-hsi) 

Cubic  form,  all  six  faces  covered  with  squares  of  deep 
pink  velvet  with  a  light  rose  sheen,  decorated  in  lotus  pat¬ 
tern  of  high  conventionalization. 

11  inches  square. 

490 —  Two  Silk  Velvet  Chair  Covers  (K'ang-hsi) 

In  each  a  single  great  peony  medallion  in  a  field  with 
archaic  dragon-scroll  corners,  surrounded  bv  a  key-fret 
border,  the  whole  shining  in  pale  gold  on  a  glistening 
ground  just  toned  enough  to  supply  the  slightest  of 
relief. 

Length,  1  foot  8y2  inches;  width,  1  foot  8  inches. 

491 —  Two  Silk  Velvet  Chair  Covers  (K'ang-hsi) 
Companions  to  the  preceding. 

Length,  1  foot  7  inches;  width,  1  foot  3yz  inches. 


Third  and  Last  Afternoon 


492 —  Pair  Silk  Velvet  Mats  ( K'ang-lisi ) 

Pinkish-golden  field  with  rich  sheen,  cut  by  a  design  in 
which  symbolic  bats  appear  within  a  scroll  about  a 
highly  conventionalized  lotus  blossom,  in  a  ground  of 
greenish  old-gold.  Key-fret  border  in  a  soft  and  glisten¬ 
ing  greenish-blue — a  dazzling  light  sky-blue  with  the 
light  on,  greenish  with  the  light  against  the  nap. 

Length,  2214  inches;  width,  22  inches. 

493 —  Silk  Brocade  Table  Cover  ( Ch’ien-lung ) 

Design,  a  bold  peony  scroll  with  very  large  blossoms 
closely  placed,  in  delicate  greens  and  tans,  silvery  white, 
orange  and  brown,  within  a  rich  and  brilliant  sapphire- 
blue  ground. 

Length,  32  inches;  width,  30  inches. 

494 —  Silk  Velvet  Table  Cover  ( K’ang-hsi ) 

In  brilliant  emerald  and  gold,  the  broad  border  a  rich 
peony  scroll  in  bright  emerald-green,  about  a  shining 
golden-yellow  field  adorned  with  a  peony  medallion, 
peony-flower  corners  and  intervening  sprays. 

Length,  32l/s  inches;  width,  31  inches. 

495 —  Silk  Velvet  Table  Cover  ( K’ang-hsi ) 

Companion  to  the  preceding. 

Length,  34yg  inches;  width,  31  inches. 

496 —  Silk  Velvet  Table  Cover  ( K’ang-hsi ) 

Resplendent  in  rich  golden-yellow  and  brilliant  emerald- 
green  velvet,  with  soft  and  glowing  sheen.  Formed  of 
four  oblong  panels,  each  with  an  emerald  border  of  floral 
scroll  encompassing  a  golden  field  with  bold  floral  adorn¬ 
ment. 

Length,  3  feet  6  inches;  width,  1  foot  10  inches. 

497 —  Silk  Velvet  Table  Cover  ( K'ang-lisi ) 

Companion  to  the  preceding. 


Third  and  Last  Afternoon 


498 —  Silk  Velvet  Table  Cover  ( K’ang-hsi ) 

A  field  of  peony  and  other  floral  sprays,  in  soft  green 
velvet  with  a  light  emerald  sheen,  on  a  smooth  gray-green 
ground,  with  a  border  of  key-fret. 

Length,  3  feet  1  inch;  width,  1  foot  6  inches. 

499 —  Imperial  Silk  Brocade  Table  Cover  ( Cli’ien-lung ) 
The  main  ground  is  a  composite  and  diversified  lattice  of 
conventional  floral  and  geometrical  figures,  interrupted 
conspicuously  by  a  large  foliated  medallion  which  is 
flanked  by  four  quadrilateral  panels.  The  medallion  dis¬ 
plays  an  elaborate  temple  lantern  that  bears  a  Sliou 
character  toward  which  two  phoenixes  rush,  and  the 
panels  embrace  ornaments  and  further  Shou  marks. 
Border  of  archaic  dragons.  The  designs  in  quiet  and 
delicate  colors  on  a  dark  sapphire-blue  ground.  Silk 
damask  lining  with  finely  wrought  medallions  of  land¬ 
scapes  and  figures. 

Length,  3  feet  2  inches;  width,  2  feet  7 14  inches. 

500 —  Pair  Silk  Velvet  and  Gold  Long  Strips  (K’ang-hsi) 
Rich  wine  color  velvet  with  ruby  sheen,  cut  by  an  ex¬ 
tensive  ornamentation  appearing  in  cloth-of-gold,  and 
including  waves,  dogs  Fu  with  the  brocaded  ball,  a  lotus 
medallion  and  dragons  among  cloud  scrolls.  In  the  bor¬ 
der  the  scheme  is  reversed,  and  it  is  the  ornamentation, 
archaic  dragons,  which  appears  in  the  velvet,  on  cloth- 
of-gold  ground. 

Length,  4  feet  10  inches;  width,  1  foot  8 y2  inches. 

501 —  Pair  Silk  Velvet  Long  Strips  ( K’ang-hsi ) 

Glowing  light  golden  field,  with  three  peony  medallions 
and  luxuriant  scrolls,  and  at  one  end  a  peach  of  longevity 
surrounded  bv  the  five  bats  of  happiness  and  well  being. 
Border,  a  rich  conventional  floral  scroll  in  a  brilliant 
greenish  silver-blue. 

Length,  5  feet;  width,  1  foot  7  inches. 

502—  Pair  Silk  Velvet  Long  Strips  (K’ang-hsi) 
Companions  to  the  preceding. 

Length,  5  feet  1  inch;  width,  1  foot  7  inches. 


Third  and  Last  Afternoon 


503 — Pair  Silk  Velvet  Long  Strips  ( K'ang-hsi ) 

Fields  of  rich  wine  color  and  glowing  sheen,  with  bat 
medallions,  lotus  figures,  scrolls,  emblems  and  ornaments, 
embraced  by  turquoise  borders  in  conventional  lotus 
scroll  motive. 

Length,  5  feet  1  inch;  width,  1  foot  8  inches. 


504; — Set  of  Four  Silk  Velvet  Long  Strips  ( K’ang-lisi ) 
All  in  a  soft  light  yellow  with  dazzling  golden  sheen, 
the  designs  including  gorgeous  peonies  and  fluttering 
butterflies,  the  archaic  dragon-scroll,  sprays  and  rocks, 
and  a  key-fret  border,  on  a  shining  ground. 

Length,  5  feet  4 y,  inches;  width,  1  foot  7 y2  inches 


505 — Set  of  Four  Silk  Velvet  Long  Strips  ( K’ang-hsi ) 
Warm  pink  velvet,  with  a  glowing  ruby  sheen,  cut  by 
designs  woven  in  the  silken  ground,  which  appear  in 
pure  white,  deep  emerald,  heliotrope  and  old-gold.  The 
ornamentation  includes  Fu-lions,  emblems,  a  lotus  figure, 
an  imperial  dragon  among  clouds  and  a  phoenix  stand¬ 
ing  on  a  rock  among  peonies. 

Length,  6  feet  2  inches;  width,  1  foot  7  inches. 


506— Imperial  Silk  Brocade  ( Ch’ien-lung ) 

A  shimmering  ground  in  the  fair  blue  of  a  delicate  tur¬ 
quoise  sky  is  crossed  by  tiers  of  formal  scroll  medallions, 
each  enclosing  an  elaborate  floral  figure,  with  intervening 
designs  of  blossoms  and  leaf  scrolls,  the  pattern  appear¬ 
ing  in  emerald-green  and  sapphire-blue,  old-gold  and  a 
reddish-copper. 


Length,  5  feet  6  inches;  width,  2  feet  5  inches. 


Third  and  Last  Afternoon 


507 — Silk  Velvet  Table  Cover  (K'ang-hsi) 

Rock  peonies  and  daisies,  magnolia  and  plum  trees,  and 
conventional  butterflies,  in  bright  golden  velvet  on  a 
hard  shimmering  ground.  Key-fret  border  in  accord. 

Length,  5  feet  2  inches;  width,  3  feet. 


508 — Pair  Silk  Velvet  Table  Covers  ( K'ang-hsi ) 

Dazzling  gold,  soft  caressing  gold,  gold  glistening  in  a 
blaze  of  noontide  sunshine,  on  a  ground  no  less  shimmer¬ 
ing  and  hardly  differing  in  tone — the  fascinating  golden 
velvet  embodying  in  regal  expression  large  peonies  and 
conventional  butterflies,  enclosed  by  a  bordering  of 
grapes  on  their  vine. 

Length,  5  feet  2  inches;  width,  2  feet. 


509 — Set  of  Four  Silk  Velvet  Long  Strips  ( K'ang-hsi ) 
Companions  to  the  preceding  table  covers,  in  the  same 
glowing  color  and  the  same  motives,  with  the  addition 
of  bats  about  a  cluster  of  peaches. 

Length,  6  feet;  width,  1  foot  6  inches. 


510 — Pair  Silk  Brocade  Hangings  ( K'ang-hsi ) 

Warm  golden-buff  ground  with  light  and  brilliant  sheen, 
with  closely  arranged  floral  ornamentation  in  delicate 
emerald.  At  the  ends,  borders  of  fret  and  scroll,  and 
at  one  end  a  deep  band  in  peony  and  lotus  motive. 

Length,  fi  feet  10  inches;  width,  2  feet  4  inches. 


Third  and  Last  Afternoon 


511 —  Paik  Silk  Brocade  Hangings  ( K’ang-hsi ) 

Warm  tan  ground  with  a  light  and  soft  sheen,  covered 
with  a  floral  ornamentation  in  delicate  and  stronger 
colors,  neutral  tones  assimilated  with  the  ground,  pale 
golden-yellow,  light  emerald  and  azure.  Fret  and  scroll 
borders  at  top  and  bottom,  and  near  the  bottom  a  band 
of  dragons  and  phoenixes. 

Length,  6  feet  9  inches;  width,  2  feet  4  inches. 

512 —  Pair  Silk  Velvet  Brocade  Strips  (K'ang-hsi) 

Ecru  ground  of  delicate  sheen,  decorated  with  a  conven¬ 
tional  lotus  scroll  embracing  large  blossoms,  in  a  soft 
green  with  bluish  sheen. 

Length,  6  feet  8  inches;  width,  2  feet  4  inches. 

513 —  Imperial  Silk  Brocade  ( Ch’ien-lung ) 

Long  strip.  Golden-tawny  ground  with  soft  sheen,  pat¬ 
terned  with  squares  of  archaic  dragon-scroll  and  em¬ 
blematic  medallions,  and  larger  geometrical  figures  em¬ 
bracing  lattice  borders  and  floral  sprays,  all  worked  in 
delicate  tones  of  light  and  dark  blue  and  pale  emerald. 

Length,  21  feet;  width,  28  inches. 

514 —  Silk  Velvet  Hanging  (K’ang-hsi) 

Great  field  of  soft  golden-yellow,  its  tones  ever  varying 
in  the  wilful  play  of  lights,  with  a  brilliant  sheen,  and 
cut  by  a  luxurious  peony  scroll  with  huge  expansive 
blossoms,  and  at  each  corner  by  the  active  figure  of  a 
phoenix.  Border  in  a  light  silvery  blue  of  lovely  quality, 
cut  bv  a  formal  floral  scroll  of  varying  pattern. 

Length,  6  feet  11  inches;  width,  3  feet  10  inches. 

515 —  Silk  Velvet  and  Gold  Table  Cover  ( K’ang-hsi ) 
Rich  deep  pink  velvet  with  a  soft  and  brilliant  light 
rose-pink  sheen,  displaying  a  profuse  and  varied  floral 
ornamentation  in  a  bright  cloth-of-gold  ground. 

Length,  6  feet  fi  inches;  width,  4  feet.. 


Third  and  Last  Afternoon 


516 — Imperial  Silk  Brocade  Table  Cover  ( Ch’ien-lung ) 

Great  peonies  and  small  crysanthemums  in  spray  and 
scroll,  worked  in  dark  sapphire  and  turquoise-blue,  em¬ 
erald,  pale  gold  and  golden-orange,  and  a  luscious  red¬ 
dish-copper,  glow  in  a  variegated  blaze  of  color  on  a 
silvery  ground  that  itself  shimmers  and  in  which  is 
picked  out  a  fine  swastika  lattice. 

Length,  (i  feet  10  inches;  width,  4  feet  9  inches. 


517 — Imperial  Silk  and  Gold  Brocade  Table  Cover 

( Ch’ien-lung ) 

Ruby  and  old  rose,  emerald  and  topaz  and  gold,  helio¬ 
trope,  ecru,  and  a  “copper  lustre”  in  silk,  make  a  dazzling 
maze  of  intermingled  color,  fascinating  as  it  is  be¬ 
wildering.  The  pattern  is  one  of  conventional  chrysan¬ 
themums  and  foliations  interrupting  an  eccentric  lattice, 
with  gold  threads  glistening  throughout  as  the  light 
is  shifted  or  the  fabric  moves. 

Length,  (i  feet  4  inches;  width,  4  feet  7  inches. 


518 — Imperial  Silk  Brocade  ( Ch’ien-lung ) 

Long  strip.  The  ground  is  a  very  delicate  sky-blue 
varied  by  the  softest  of  emerald-green,  the  colors  so 
blended  and  melting  into  one  another  as  to  produce  a 
changeable  effect,  and  is  given  to  a  close  lattice  in 
which  the  swastika  emblem  appears.  On  this  ground 
chrysanthemums  and  conventional  lily  and  bamboo 
sprays,  peach  clusters  and  the  sacred  fungus  are 
wrought  in  golden-apricot,  pale  emerald,  and  shimmering 
sapphire-blue. 


Length,  23  feet;  width,  28  inches. 


Third  and  Last  Afternoon 


519 — Imperial  Palace  Hanging  in  Silk  Velvet  and  Gold 

(K'a  ng-lisi) 

A  fabric  of  regal  splendor  and  finely  executed  design. 
Its  field  of  rich  yellow,  with  a  soft  and  brilliant  sheen 
of  greenish  old-golden  tone,  is  centered  by  a  large  me¬ 
dallion  of  conventional  lotus  pattern  in  a  soft  rose  note, 
broadly  picked  out  with  gold.  Six  similar  medallions 
of  smaller  dimensions  are  executed  in  the  same  manner, 
amid  a  conventional  foliar  scroll  in  which  the  larger  folia¬ 
tions  are  in  gold  with  details  in  the  rose,  while  stems 
and  other  foliations  appear  in  a  silvery-gray  silk  weave. 
Three  borders  brilliant  as  the  field  complete  the  piece, 
one  of  the  archaic,  angular  dragon-scroll  highly  con¬ 
ventionalized,  one  a  floral  scroll  in  lotus  motive,  and 
the  third  a  swastika  fret.  A  companion  to  No.  520. 

Length ,  II  feet  4  inches;  width,  6  feet  2  inches. 

( Illustrated) 


520 — Imperial  Palace  Hanging  in  Silk  Velvet  and  Gold 

( K’ang-Jisi ) 

A  fabric  of  splendor,  and  exquisite  design.  Its  field 
is  a  baffling,  gem-like  blue  with  a  silvery  azure  sheen, 
and  is  centered  by  a  large  medallion  of  conventional 
lotus  pattern  in  a  soft  rose-yellow  note,  outlined  and 
picked  out  with  gold.  Six  similar  medallions  of  smaller 
degree  and  executed  in  the  same  manner  appear  amid  a 
scroll  of  foliations,  in  which  the  larger  leaf  rolls  are  in 
the  rose-yellow  with  outlines  and  details  in  gold,  while 
the  stems  and  lesser  foliations  are  in  a  bluish  silvery-gray 
woven  silk,  with  here  and  there  a  greenish  tone.  Three 
borders  brilliant  as  the  field  complete  the  fabric,  one 
border  the  archaic  angular  dragon-scroll  highly  con¬ 
ventionalized,  the  second  a  floral  scroll  in  lotus  motive, 
and  the  outer  border  a  swastika  fret.  A  companion  to 
No.  519. 


Length,  11  feet  8  inches;  width,  6  feet  1  inch. 


No.  519— IMPERIAL  PALACE  HANGING  IN  SILK  VELVET  AND  GOLD 


Third  and  Last  Afternoon 


521 — Large  Silk  Velvet  Hanging 

Soft  gray  throughout,  with  a  sheen  of  silver-white.  The 
ornamentation  appears  in  the  uncut  velvet,  relieved  by  the 
cut  ground,  and  throughout  the  field  is  in  blossom  and 
scroll  design  in  lotus  motive  highly  conventionalized. 
This  is  surrounded  by  a  border  of  detached  floral 
scrolls,  followed  by  a  border  of  dragons  amid  fine  scrolls. 

Length,  12  feet  2  inches;  width,  7  feet  10  inches. 


522 —  Mammoth  Jardiniere  (Ming) 

Heavy  pottery,  modeled  in  ovoidal  form,  with  broad 
fiat  bottom  and  thick  expanding  lip  flattened  on  top; 
encircled  just  under  the  lip  by  a  bold  half-round  mold¬ 
ing.  Coated  with  a  glaze  of  mottled  turquoise-blue, 
rich  and  fine  in  color  quality.  Six-legged  carved  teak- 
wood  stand,  in  dragon  motive. 

Height,  23  inches;  diameter,  38ys  inches;  height  with  stand,  45  inches. 

523 —  Large  Blue  and  White  Jardiniere  (Cilia  Citing) 
Ovoidal,  with  a  short  straightened  section  at  the  lip, 
and  broad  flat  foot.  Heavy  porcellanous  stoneware, 
with  a  brilliant  bluish-white  glaze.  Decorated  in  rich 
Mussulman  blue  with  two  imperial  dragons  coursing 
about  the  body,  amid  lotus  and  other  flower  sprays, 
between  two  borders  of  highly  conventionalized  lotus- 
petal  pattern,  the  units  enclosing  other  conventional 
devices.  At  the  lip  a  running  border  of  foliar  scroll. 
Mark,  on  one  side:  Ta  Ming  Cilia  Citing  nien  cliili.  Six¬ 
legged  teakwood  stand  carved  in  dragon  motive. 

Height,  24  inches;  diameter,  31  y2  inches;  height  with  stand,  44  inches. 

524 —  Large  Blue  and  White  Jardiniere  (Cilia  Citing) 
Companion  to  the  preceding,  one  inch  less  in  diameter, 
and  in  the  decoration  the  dragons  replaced  by  four 
Fus  sporting  with  the  brocaded  ball,  whose  fillets  form 
a  scroll.  Same  mark.  Similar  stand. 


Third  and  Last  Afternoon 


525 — Blue  and  White  K’ang-hsi  Jardiniere  on  Ch’ien-lung 
Red  Lacquer  Stand 

Jardiniere  of  fine,  heavy,  sonorous  porcelain,  its  form 
ovoid  and  deep,  with  rounded  lip  and  a  low  molding  below 
the  lip,  and  clothed  in  a  brilliant  glaze.  Tbe  entire  body 
is  covered  with  a  bold  and  luxuriant  floral  scroll,  in  a 
highly  conventionalized  form  of  the  Indian  lotus,  exe¬ 
cuted  in  a  rich  cobalt-blue  on  a  pure  white  ground. 
Under  the  lip  is  a  hatch  border. 

The  stand  is  circular,  with  six  long  and  slender  cabri¬ 
ole  legs  resting  on  a  circular  base,  and  is  carved  in  red 
lacquer  penciled  with  an  extensive  lotus  decoration  in 
gold. 

Diameter  of  jardiniere,  2 1  >4  inches;  height,  19  inches;  height  with 
stand,  35  inches. 


526 — Antique  Chinese  Red  Lacquer  Dog  Kennel 

Rectilinear,  on  four  heavy  feet,  the  walls  formed  of  ver¬ 
tical  metal  rods;  solid  floor.  The  broad  doorway  is 
arched,  with  an  animal  mask,  winged,  looking  down  over 
the  arch,  as  do  similar  ones  from  either  end  of  the  ridge¬ 
pole  on  top  of  the  flat  roof.  The  door  posts  are  Fu-lions 
on  their  haunches,  with  forepaws  raised  above  their  heads 
supporting  conventional  lotus  platforms  on  which  the 
corner  posts  and  the  arch  rest.  Around  the  base  are 
panels  carved  in  high  relief  with  plum  trees,  vases  of 
flowers,  and  figures.  All  of  the  carvings  are  gilded,  as 
are  the  cage  bars.  On  the  door  posts  are  large  green 
and  white  jade  rings,  to  which  a  pet  dog  may  be  tied. 
The  entire  back  of  the  cage  is  a  hinged  door.  Bears  the 
seal  of  Tao  Kuang  in  coral  on  white  reserve. 

Height,  3  feet  8 ys  inches;  length,  3  feet  7  inches:  width,  3  feet 
2  inches. 

Property  of  a  private  owner. 

AMERICAN  ART  ASSOCIATION, 

Managers. 

THOMAS  E.  KIRBY, 

Auctioneer. 


FOR  INHERITANCE  TAX 


AND  OTHER  PURPOSES 

The  American  Art  Association 

IS  EXCEPTIONALLY  WELL  EQUIPPED 
TO  FURNISH 

INTELLIGENT  APPRAISEMENTS 


ART  AND  LITERARY  PROPERTY 
JEWELS  AND  PERSONAL  EFFECTS  OF  EVERY 

DESCRIPTION 


IN  CASES  WHERE 

PUBLIC  SALES  ARE  EFFECTED 

A  NOMINAL  CHARGE  ONLY  WILL  BE  MADE 


THE  AMERICAN  ART  ASSOCIATION 
MADISON  SQUARE  SOUTH 
NEW  YORK 

TELEPHONE,  3346  GRAMERCY 


Date  Due 


— 

f-tbrary  Bureau  Cat.  no.  i  1 37 

709.51  K58H  138701 

American  "rt  Assoc. 

Illustrated  catalogue 

— Chinese  Art  Treasures.. . 

DATE 

ISSUED  TO 

_ 

...  -  - 

709.51  K58H 


138701 


